
Class ^ f-7£3 

Book 'i 'C' 



Copyright N°_ 



COPYRIGHT DEPOSIT. 



/ 



DANCES - 



National, DemiGharacter, Ballet, Esthetic 
Interpretive and Folk 



Fully described, and witli appropriate music 

y 

for each, for use in American dancing academ- 
ies and schools 



"^ Arranged or Composed by 



LOUIS H. CHALIF 



principal of the Ghalif Normal School of 
Dancing, New York. 



Published and. for sale only by 

Louis H. Ghalif 
7 West 42nd st.. New York, N.Y. 

Copyright, 1915, by Louis H. Ghalif 






DEC 27 1915 



©CI.A420iy5 '^' 



CONTENTS 



VJ) 



CO 



Volume I . 

Abandon 

Allegretto 

Allemande 

America 

Anitra's Dance 

Autumn 

Baborak 

Bacchanal 

La Ballerina 

Barcarolle 

Bavarian Folk Dance 

Beauty of the Alps 

Blue Bird 

Blue Danube Waltz 

Bluet te Polka 

Bolero 

Bulgarian Folk Dance 

The Bride' s Dance 

C. 
Ca la Brea?,a 
Cherry Blossoms 
Chopin Prelude 
Chopin Waltz 
Cleopatra's Dance 
Cola Rerbianka 
Columbine 
Countess, The 
La Creole 
Csardas in D, duet 
Csehbogar 
Cymbal Dance 

D. 
Diana 

Diana' s Hunting Party 
Donskoi Cossack Dance 
Echo, The 
Eugenie Onyegin 
Fairy Queen, The 
Fireflies 

Flemish Folk Dance 
Flower Waltz, The 
Forest Spirits, The 
French "noil. The 
Fricassee 
Furlana ,duet 

G. 
Galanterie 
Gavotte 

German May Dance 
Gipsy Camp, The 
Goralski Taniec 
Greek Maidens Playing 

H. 
Her Warrior 
Hewet t ' s Fancy 
Highland Schottische 



Humor eske 
Hissar, The 

I. 
Irish Lilt 

J. 
Japanese Group Dance 
Jean et jeannette 
J Ota Aragonesa 
Joy of the Rose 

K. 
Khorovod 
Krakowiak 

L. 
Little Fairy Snowflake 
Lezginka 
Long Dance 
Lujock 

M. 
Magyar, The 
Mai d-of -Honor Dance 
La Mane ha 
Manchegas 
Marysia 
Maypole Dance 
May Queen, The 

Volum-e II . 

jrazovian Maid, The 

Menuet de la Heine 

Midsummer Night's Dream 

Mignonnette 

Minuet de la Cour 

Moment Musical 

Mountain Trio Dance 

Morning 

Morning Star, The 

Moon Dance, The 

Musette 

N. 
Night 
Noon 
Norman Folk Dance 

0. 
Old English FolK Dance 
Old Welsh Dance 
Ostendaise 

P. 
Palom.a, La 
Pastorale 
Petite Coquette 
Pied Piper, The 
BallPizzicato 
Pletyonka 
Plyasovaia 
Polish Princess 
Polka Miniature 



Polska 

Pompadour 

Pompeian Plover Girls 

Poppies 

Psyche 
Q. 

Queen of Hearts 

Queen of Swords 
R. 

Ritka 

Russiar; Court Dance 

Russian Quadrille 

Rustic Dance, Old 

Russian Wedding, A 
S. 

Saibara 

Scalp Dance 

Shepherd and the Angel, The 

Siciliano 

Slovak Folk Dance 

Snake Dance 

Snow Storm, The 

Song of the Robin 

Spirit of Spring, The 

Spring Song 

Strasgk 

Summer 

Sunbeams 

Swallow, The 

Swedish Ring Dance 
T. 

Tambourin, Le 

Tarantella 

Thanksgiving Dance 

Tatra Dance 
Three Fair Maids 
Tourdion 
Troika 
Tyrolienne 

V. 
Valse Brillante 
Valse Gracieuse 
Village Belle, The 
Villagers, The 

W. 
Westphalian Peasant Dance 
Wheel, The 
White Rose Mazurka 
Wind and Wave 
Windmill, The 
Winter 

Z. 
Zorongo 



ABANDON 

SIMPLE COUPLE MAZURKA SERIES. FOR CIRCULAR FORMATION 

Arranged by LOUIS H. CHALIF 



PRICE 



ON E 



DOLLAR 



OTHER S(MPLE COUPLE DANCES. WITH THE SAME AUTHORSHIP & PRICE. 
ARE LISTED BELOW. MUSIC & DESCRIPTION ARE INCLUDED. UNLESS OTHER- 
WISE STATED. THE NUMERALS INDICATE PROGRESSIVE DEGREES OF 
DIFFICULTY. S !ii THE DANCES CAN BE PROCURED ONLV FROM 



THE CHALIF 
SCHOOL 



NORMAL 
DANCING 



WEST 42nd STREET. NEW YORK CITY 



Galanterie Schottische 2 

Sunbeams Po"<a Series 2 
The Princess Schottische 2 

Mazurka 3 

Flower Waltz Series 3 
The Countess Gavotte 2 

Minuet Waltz 2 



Abandon Mazurka Series 3 

Sylvia Waltz 3 
Gavotte Waltz 2 
Mazur Waltz 3 

Rouli-Rouli Exhib Bir 2 
Gavotte Directoire Paviowas 3 

Ta-taO Chinese 3 



SEE BACK COUER FOR OTHER DANCES BY THE SAME AUTHOR 
COPYRIGHT I9I5 BY LOUIS H. CHALIF 



Abandon* 



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Abandon 



POLISH DANCE FOR ONE OR MORE COUPLES 

Fairly easy, by 

LOUIS H. CHALIF 

Q The couples may be arranged in a circle progressing around the room. Q This iS not strictly 
a Polish mazurka, being softened by the addition of simple classical movements. It should be 
danced with much fire however and with abandon. 

Q A suitable Polish peasant costume for the girl consists of a cream-colored skirt 10 inches from 
the floor, wi h linle roses, green £r red ribbons near the hem; green velvet bodice laced in front 
with red; white shirt; small apron with red &- green ribbons; white stockings &- black shoes, 
or ballett slippers if desired. The boy may wear a short, light blue coat, very full knee 
breeches of white with a red stripe, &- boots. 

(| The mazurka step used in this dance is an exaggeration of the simple mazurka step &- 
iS as follows: Slide on Rf to side (count 1), bring Lf up to Rf in 1st position, cutting out Rf 
sideways (eft 2), lift R leg quite high to the side v/ith knee bent (N. B.), at the same time 
hopping on Lf {& 3). The lifting of the knee is the exaggeration. The L arm is held 
overhead, almost straight, 6- the R arm is on the hip. This is for a mazurka to the R 
side — reverse the arms when starting Lf. Just before starting a mazurka to R there may 
be a slight bend at the waist to R and a straightening on d 1 when executing the slide. 

Q( The Polka'Redowa step is: Slid*' on Rf (d I), bring Lf up to Rf cutting Rf out (d 2), 
6t- make a gentle leap onto Rf (d 3). 

Q Balance step is Lf to side (d I) close the other ft to it &- rise on the toes (d 2), &- lower 
the he?l (a V. 



Q Pas de Basque is a semi-circle with Rf &- leap Rf to R side (<£l 1), slide Lf forward in 
front of Rf ( d2), &- bring Rf up behind Lf cutting Lf out forward ((fl 3), 

(| Pas Boiteux: Both use the same feet. Lift Lf (preparation), hop on Rf (d IV step 
forward on Lf (d 2), &■ step forward on Rf (d 3). Each places R arm around the 
other's waist, &■ lifts L arm. 

Q The boy's part will be described — the girl s is opposite. Begin facing partner. 

2 mazurka steps in line of direction starting (boy's) Lf 2 meas 

Turn once around to L with 2 polka-redovA/a steps starting Lf 6- progressing in line of diredlion 
The arms are 2nd pos. on the 1st redowa &- 5th on the 2nd 2 meas 

Repeat all 3 times more 12 meas 

On the last meas instead f the redowa make 2 stamping steps (R &- L; d I, 2), 6- 
pause (d 3). While stamping face in line of diredion &- place inside hand on hip &■ raise 



outside arms 16 meas 

m II. m 

Changing places, beginning Rf take I mazurka step (3 dts), &- 3 steps turning once around 
o R (3 ds). In doing this each partner crosses over to the other's place, the girl passing 

in front. They must bs sure to., face forward &■ dance sideways 2 meas 

To simplify the above the 3 steps may be taken without turning. 

Balance toward partner, looking at partner, boy starting Lf (girl Rf; d I, 2 3), balance 
away from partner, Icckirg away frcm fanner, si8riirg with ihe oiher feet (d 4 5, 6), The arms 
are 3rd pos., the upper hand toward partner for the first balance, then reverse, 2 meas 



Repeat all returning to original places. The boy begins Lf &- girl Rf 4 meas 

Repeat all .8 mea s 

16 meas 

m III. ^ 

1 Pas de Basque moving forward, starting Rf (dl, 2. 3), &- turning to face partner; stamp out- 
side ft without changing the weight to it (d 4). &- pause (d 5, 6). The] arms are 4th pos. 
with R arm up _ 2 meas 

Repeat same starting Lf &- turning the back to partner 2 meas 

2 mazurka steps forv/ard in line of diredion with back to partner, starting Rf 2 meas 

3 step? changing places with partner, making I complete turn to R. &- 2 stamps (L, &- Rf; d I, 
2), made facing forward in line of diredion. The arms are 5th pos. while turning &- at the 
close are R hand overhead &- L hand on hip 2 meas 

Repeat all starting Lf, which is now the inside ft 8 meas 

6 meas 

M cu. ^ 

Partners face each other. 1 mazurka step in line of diredion, starting Lf I ...cas 

3 steps in same diredion (L, R &- L; d I, 2, 3). making a half'turn to L. Partners are now 
back to back I meats 

Repeat all starting Rf. Partners are now facing each other 2 meas 

Join outside hands (boy's L &■ girl's R, an unusual position), slide hop hop on Lf in line of 

diredion (d I, *2, 3,), &■ 3 steps in same direction (ct 4, 5, 6).. 2 meas 

Repeat the above 2 meas keeping the hands joined as before 2 meas 

Repeat all \ ,\ 8 meas 

16 meas 



Abandon 4 



u. 



2 Pas de Basque forward in line of diredion starring Lf ^. 2 meas 

3 steps turning outward (L, R &■ L; d I, 2, 3), making a complete turn to L (away from 
partner), 2 stamping steps in place facing forward (R &- L; d I, 2), &- pause (d [3). The 
arms are 5th pos. while turning &• at the end are L arm up &■ R arm on hip 2 meas 

Change places with partner, starting Rf XA^ith 2 mazurka steps, dancing sideways 6- facing 
forward 2 meas 

3 steps turning away from partner (R, L &- R; d I, 2, 3), 2 stamps in place facing 
partner, (L &■ R; d I, 2), &- pause (d 3). The latter stamp is without a change of weight. 
The arms are 5th pos. while turning &- at the close R arm up &- L arm on hip . . 2 meas 

Repeat, (boy) starting Rf, which is now the outside ft 8 meas 

16 meas 

Slide hop hop on Lf, &- joining hands &- moving forward in line of diredion; then repeat same 
on Rf £r again on Lf. The joined hands swing back, then forward, then back . . 3 meas 

The boy then takes 3 ranning steps (R, L 6- R; d 1. 2, 3). while at the same time the girl 

takes 2 steps only (on the 1st Sr 3rd ds). Face partners on the last step 1 meas 

Turn pau-tner with pas boiteux 3 times &- finish with 2 stamps, separating from each other, 
both stamping L £r R ft, the girl without transferring the weight on the 2nd stamp , . 4 meas 

Repeat all stsutirig Lf (outside ft), &■ finisn separating from partner with 2 stamps, the weight 
remaining on outside ft. Partners face forward but look at each other. The outside arms 
are raised €r inside hands on hip. 

THE STANDARD POSITIONS 

|st Position : The arms make a circle in front of the chest at the level of the middle of the chest 

2nd Position : The arms are raised sideways a little below shoulder level. 

3rd Position : The Pv arm makes a half'circle over 6- in front of the head 6- the L is in 2nd pos. 

Reverse for " L arm in 3rd pos-" 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position : The K arm makes a half'Circle over &- in front of the head dr the L is in 1st pos. 

Reverse as above. 
5th Position : Both arms make a circle over &- in front of head. 
Lateral Positions have one arm in 2nd pos. €r the other in 1st. 



A" 1" "if } \ I 



I)*ANCES BY LOUIS H. CHALIF. 



The following list of dances composed o/ 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



2 — Of a little difficulty. 
3— Rattier difficult 
4— Difficult, 



NATIONAL. $3 Each, 
'urlana. \''enetian gondolier s or g 2. 
laltarella. Sicilian d or g 2. 
iiciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
lyrolienne. .Austrian Peasant d or g 2. 
J Dlero. Spanish s or g 4. 
1 1 Mancha. Spanish s or g 2. 
adrileiia. Spanish s 3. 
chuca. Spanish s or g 3. 
, Feria. Spanish s or g 3. 
e Gaditano. Andalusian s 3. 
. Gitana. Andalusian s 3. $1. 
1 Paloma. Mexican s or g 4. 
arabande. Old French d. or g. 2. 
avane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Hiehland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
'^sardas. s or g 3. 
The Magyar. Csardas s or g 3. 
"nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Fete de Jardinier. P: 



ime and 



ix dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto ballet. $10. 



FOLK. $1 Each. 
Note:— The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanisii. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
r'orlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. SOc. 
Mountain Trio Dance, 
May Dance. German. 1, 
Westphalian Peasant Dance. 2, 
Bavarian Folk Dance. 1, 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 
Khorovod (The Crane). Russian. I 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian, 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



folk song, 
vegian. 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2, 
Hewett's Fancy. 1. 
Hull's Victory. 2. 

Windsor 



SOc, Each, 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2, 
Three-Hand 

Ring. 2. 
The Tempest 

(LaTempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 
$3 Each, 
Wind and Wave. Greek s 3, 
Psyche. Interpretive s or g 2. 
Forest Spirits. Grk. 12 yg. women. 2, 
Pompeian Flower Girls. Old Roman g 2. 
Greek Maidens Playing Ball. Simple 

Cymbal Dance. Greek s or g 3, 
Spirit of Spring. Grk, Interpretive s 3. 
Summer. Greek Interpretive s 2. 
Autumn. Greek Interpretive s 3. 
Winter. Greek Interpretive s 2. 
The Moon Dance. Oriental Interpre- 
tive s or g 2. 
Cleopatra's Dance. Oriental Int. s or g 2, 
Moment Musical (Schubert), Grk, s 2, 
Barcarolle from "Hoffmann." Grk, s 3, 
Spring Song (Mendelssohn), Interp, s 2, 
Hark, Hark, the Lark! (Schubert), In,s 3, 
L'Automne (Bacchanal), d 3. 
Blue Danube Waltz. Interp. s or g 3. 
Song of the Robin. Interp. s or g 1, 
Chopin's Waltz, C sharp minor, Int, s 3, 
Chopin's Waltz in D flat. Int. flower d. 
Valse Caprice (Rubinstein). Int. s 3. 
Humoreske (Dvorak). Greek s 3, 



CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span, taml), s or g 3 
The Andalusian Gipsy. Spanish s or g 3, 
The Beauty of the Alps. Tyrol, s or g 2, 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2, 
Columbine. French s or g 3, 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3, 
Stach i Zoska. Polish d with panto, 2, 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2, 
Japanese Group Dance. 8 or 16, $2, 1, 
America. 6 characteristic dances, from 

Indian times to the present, 2, 
Bow and Arrow Dance. Male s or g 3, 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant.2. 



$J. 



ESTHETIC. 
Allegretto, s nr g 2. $:., 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. 
The Fairy Queen, s or g 2. $3. 
i'ireflies. s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1, $2, 
The Nightingale, s or g 2. $2, 
Papillons d'Amour. Waltz time g 3, $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia," 2. $2. 
Polka Miniature, s or g 2, $3, 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or e 3. $3. 

BALLROOM. 

Music and Description, $1. 
Furlana. 2. I Minuet Waltz. 2. 

T a Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Waltz. 2. 

Mazur Waltz. J. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new. in their most 
beautiful, modest, teachable and stand- 
ard form, are published bv the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 



price 



,25 • 



OTHER WORKS 

For sale only l)y the School 
THE 

CHALIF TEXT BOOK OF DANCING 

\'oI. I. The Standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student . 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50_ 
Music for the Classical Exercises for 
Technique, a& described in the Text 
Book, and including: all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, hv 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid. $10. $k 



5CHOOL OF DANCING 



7 T IS locatsd in Ms-.v York City, at 7 West 42nd Street, and teaches 
ii dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its wnrk wit'i 
these classes has met with tremendous success. "Chalif dancinf;;" and 
the t.'^hool which radiates it hav» rome into a North Ar^-ierican repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

l3t: CHALIi? DANCING 

inis is tne classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and ininuto 
stage detail have been treated a^ separate branches, but almost aP 
the beauty of the original, and qun." all of its spirit and scope .'ave 
been retained. Ilie result is an art w^:rh while allowing: an amateur 
to make rapid progre s is yet authentic, i^-autiful, utterly c-ptivatino- 
to the student, and furthermore brin-ing health, kno'led~e of r~rial 
character, alertness, grace, and - s^ul-deep development e-'theticallv 

The adaptation at Classic rl^incing has not been attempted by 
the Chalif School on'v but by it with the most o''t=tanding suc-^-s, 
especially in three particulars. First, the use of the .^rm^ and the 
rest of the body has b.^ei kept equally imnortant vrt'^ the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor 
ough regard is had for the proprieties, so th?t a'tnMugh Ch'l'f daT-'ng 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When tau?ht to teachers it includes more than this, for s*- sy-»' 
lent training in Pedagogy is furnished. By the time of graduation 
jirdinary student is a completely equipped teacher of Chal-f 



A Few ^Vords 
Concerning It 

2nd: L. H. CHALIF 

The second factor :" the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student 'r. t" c Lnperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . , 
A ceitain ability at tcciching k::s also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3r J : LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," ha» 
helped its enrollment. 

4tn: THE MOVEMENT FOK ARTISTIC DANCi:;C; 
which is more and nore ascendant in this country, is the final cause 
f:r the fame c' t'..e Ch 1 f School. Everywhere there is a demanf^ for 
tl-^ real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school witn 
' ■' jSCG all day, both in the regular Chalif and Ballroom work and in 
Pantoi.. !.-.£, fectival bslletj. Toe-dancing, etc. And similar sessions 
are hclj during - fortnight of the Christmas holidays and c. ?a*u - 
navs tnd aOrne week-day afternoons throughout the "'inte'-. Crt-^'ogs 
0} any of these, or of our dancing teachers' shoe and supply house. 



ALLEGRETTO 

SIMPLIFIED CASSIC SOLO OR GROUP DANCE 
BV LOUIS H. CHALIF 



OTHER SIMPLIFIED CLASSIC OR ESTHETIC DANCES. BY THE SAME 
AUTHOR. ARE LISTED BELOW. AND DESCRIBED ON THE 
BACK COUER. THEY CAN BE PROCURED ONLV FROM 



THE 


CHf)LIF 


NORMAL 


SCHOOL 


OF 


DANCING 


7 WEST 42ND 


STREET. NEW 


VORK CITV 


Allegretto 
Bluette Polka 
Esthetic Waltz 




Papillons d'Armour 

Petite Coquette 

Pizzicato 

Polka Miniature 


Eugenie Onyegin 




Poppies 


Fire flies 




Three Fciir Mctids 


Little Fairy Snowflake 




The Fairy Queen 


May Queen 




The Blue Bird 


Mignonnette 




The Nightingale 


Midsummer Night's Dream: Dance 




The Swallow 


of the Fairies. 12 or 24 girls 




Valse Brillante 


Morning Star 




Valse Gracieuse 



COMPLETE LIST OF DANCES ON BACK COUER 

COPYRIGHT 1915 BY LOUIS H. CHALIF 



ALLEGRETTO 



Arr. by LOUIS H. CHALIF. 



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SIMPLIFIED CLASSIC DANCE 

Or "Esthetic, " very simple, for solo or group, 

by 

LOUIS H. CHALIF 



^The manner of the dance should be simple, naive. ^The costume should be an "Empire" dress, i. e., 
one short-waisted, with a rather full skirt hanging down to the ankles in straight lines. 

JJ I. $$ 

Point R toe diag. forward R (ct I ), bend it in front of L ankle (ct 2), & repeat same (ct 3, 4), at 

the same time hopping 4 times on Lf (4cts). The R hand holds skirt & L is overhead I meas 

3 steps diag forward to R (R, L & R; ct 1-3), & hold (ct 4). The L arm falls down to 2nd pos. 

1 meas 

Repeat all twice more starting L&R 4 meas 

Move backward & turn completely around to L with Step hop twice (L & R; ct 1-4). On the 1st 

step hop lift the free ft behind, & on the 2nd in front. The R hand holds skirt & the L is in 2nd 

I meas 

3 steps moving backward (L, R & L; ct 1-3), & hold (ct 4). Take the last ste'p as if making a shght 

courtesy. The arms are as above 1 meas 

8 meas 

U II. u 

This Fig. is danced in zigzag moving forward. 

Step on Rf & swing Lf forward hopping on Rf (ct 1 , 2) , & take 2 steps to R side starting step Lf across 

in front of Rf (ct 3, 4). The R hand is overhead & the L holds skirt 1 meas 

Repeat 5 times, starting L & R ft alternately & reversing the arms each time. At the end of the last 
repetition take 1 step only (on Rf; ct 3) & hold (ct 4) 5 meas 

Repeat the last 2 meas of I 2 meas 

8 meas 

U III. JJ 

Point R toe diag. forward R (ct i ), bend Rf in front of L ankle (ct 2), bend it behind L ankle (ct 



Allegretto 2 

3), & in front again (ct 4). At the same time hop 4 times on Lf. For greater ease, these hops may 
be omitted, or rising on the toes substituted. The R hand holds skirt & the L is overhead .... 1 meas 

Take 3 steps diag. forward to R (R, L & R; ct 1-3), & hold (ct 4). The L arm falls to 2nd pos. 



Repeat all twice more, starting L&R 4 meas 

Repeat the last 2 meas of I 2 meas 

8 meas 

n IV. tt 

Step Rf to side (ct 1), step Lf behind Rf bending both knees slightly (ct 2), point R toe to side 
(ct 3), & bend Rf in front of L ankle (ct 4). One may hop on Lf an cts 3, 4 or not, as desired. 
The R hand holds skirt & the L is overhead 1 meas 

Repeat twice more, continuing to move to R side & starting Rf, with arms as described above . . 2 meas 

3 steps diag. forward to R (R, L&R; ct 1-3), & hold (ct 4). The L arm falls to 2nd pos. 

I meas 

Repeat the 1 st 2 meas of this Fig. to L side, starting Lf 2 meas 

Repeat the last 2 meas of I 2 meas 

8 meas 

$$ V. J$ 

Point R toe diag. forward R (ct 1 ), bend Rf in front of L ankle (ct 2), & take 2 steps diag. forward 
to R (R & L; ct 3, 4). The R hand holds skirt & the L is overhead 1 meas 

Slide hop hop hop on Rf raising Lf behind (ct 1-4). The arms are 3rd pos. amplified with R arm 
up 1 meas 

Repeat all to L & R 4 meas 

Repeat the last 2 meas of 1., but with the arms in 2nd pos. on the 1st step hop, 5th pos. on the 2nd, & 

both holding skirt for the final courtesy, which should be deeper than those hitherto. The music should 

retard on the last meas 2 meas 

8 meas 



THE FIVE POSITIONS 

1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 

2nd Position: The arms are raised sideways a little below shoulder level. "'' 

3rd Position: The R arm makes a half-circle over & in front of the head & the L is in 2nd pos. Re- 
verse for "L arm in 3rd pos." 
3rd Position Anrtplified is the same, except that the raised arm is less curved. 

4th Position : The R arm makes a half-circle over & in front of the head and the L is in I st pos. Re- 
verse as above. 

5th Position: Both arms make a circle over and in front of the head. 



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DANCES BY LOUIS H. CHALIF. 



The following list of dances composed o/ 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



^ NATIONAL. $3 Each. 

Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2, 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
'Bolero. Spanish s or g 4, 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
|La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 

'avane. Old French d or g 2, 
lemande. Old French g 2. 

^haconne. Old French d or g 2. 

lavotte. French s or g 2. 

lavotte Directoire. Pavlowa's d. 2. $1. 

linuet de la Cour. For 4 couples. $5. 2. 

Jueen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Hiehland Fling. Scotch s. 3. 
Folska. Swedish d or g 2. 
Polonaise. Music- only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
Znd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

\ Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2, 



BALLET. 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitalile for a ICirmess. $5. 
The Sun, or Earth's Awakening. Pan- 

-omime ballet, $10. 
In Cleooatra's Court. Panto ballet. $10. 



FOLK. $1 Each. 
Note: — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
li'orlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish, 
First of May. Sw. 50c. 
Mountain Trio Dance. 
May Dance. German. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Piety onka. Russian. 1. 
Snow Storm ( Myateiitza). Russian. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. .\mer, Indian. 1. 
Scalp Dance, .^mcr. Indian. 1. 



w. folk sor 
Norwegia 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2, 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



.50c, Each. 
Money Musk. 2. 
Off She Goes. 2, 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1, 
Soldier's Joy. 1, 
Speed the Plow. 2, 
Three-Hand 

Ring. 2. 
The Tempest 
(LaTempeteV 1, 
Terrace. 2, 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg, women. 2, 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or £■ 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvoi'ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3, 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2, 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, & 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Plungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 cliaracteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w, pant, 2. 



ABBREVIATIONS 


1 — Easy 




2— Of a 


little difBoulty. 


3— Rath 


er difficult 


4— Diffi 


ult. 


d — Due 


dance. 




p dance. 






THET 

2. $2. 


EC. 


s or g 


4. $3. 


s or g 


3. $3. 



Allegretto, s or 

The Blue Bird. 

Bluette Polka. 

Esthetic Waltz, s or g 2. $2. 

Eugenie Onyegin. Waltz s or g 3. $3. 

The Fairy Queen, s or g 2. $3. 

Fireflies, s or « 2. $2. 

The Golden Butterfly, s or g 4. $3. 

Little Fairy Snowflake. s. or g. 1. $2. 

Midsummer Night's Dream: Dance of 

the Fairies, 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d' Amour. \Valtz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2, $2. 
Polka Miniature, s or g 2, $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $L 

Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1, Sylvia Waltz. 2. 

The Countess. 2. | Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved D>* 
us and the public, is carried in slock a" 
prices from 25 cents uo. 

OTHER WORKS 

For sale only l)y the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Xol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill, price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. ■: 



THE CMALIF NORMAl. SCHOOL OF DANCING 



A Few 'Words 
Concerning It 



y T IS located in New York City, at 7 West 42nd Street, and teaches 
I dancing, especially its higher forms, to dancing teachers, e.\hibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical trainine. Its work wit'i 
these classes has met with tremendous success. "Chalif dancinr;" and 
the 5,':hool which radiates it have roroe into a North American repu- 
tation, nov,? becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

inis is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
rtage detail have been treated aS separate branches, but almost all 
the beauty of the original, and quit" all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Anns and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
-'iit training in Pedagogy is furnished. By the time of graduation 

luinped *-"-"-'-'"• of Chalif and 



2nd: L. H. CHALIF 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the prlacipal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demanr" 'or 
tli« real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school witn 
c'r-isses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house. 



ALLEMANDE 



OLD FRENCH SOLO OR GROUP DANCE 



Arr. by 



LOUIS H. CHALIF 

Other National dances arranged by Mr. Chalif are listed below. Their 
price is Three dollars ($3.00) each and they can be procured only from 

The CHALIF NORMAL 
SCHOOL of DANCING 

7 W E S T 4 2 N D STREET, NEW YORK 



Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Sicilicino. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s. or g. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. .Andalusian s 3. $1. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
AUemande. Old French g. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12or8cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Tyrolienne. Austrian Peasant d or g 2. 



Polska. Swedish d or g 2. 
Polonaise. Music only, SOc. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s. with pantomime. 
Russian Quadrille. For 8 couples. 2. 
La Paloma. Mexican s or g 4. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
CsardSs. d or g 3. 
Csardas. s or g 3. 
■ The Magyar. Csardas s or g 3. 
Ca la Breaza. Rumanian s. or g. 
La Mancha. Spanish s or g 2. 
Plyasovaia. Russian s w. pantomime 2. 
Saibara. Japanese s or g 1. 
AUemande. Old French g 2. 
Ca la Breaza. Rumanian s or g 3. 
Second Hungarian Rhapsody. Csardas 
s. 4. 



S£E BACK COUER FOR EXPLANATION OF ABBREUIA- 
T I N S AND LIST OF OTHER DANCES BY THE SAME AUTHOR 
Copyright. 19 IC by Louis H. Chalif 



Rllemande. 



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AUemande 

OLD FRENCH DANCE 

For 3 couples, very easy, 

by 

LOUIS H. CHALIF 



As indicated by the name, which is the French for a "German (dance)", the AUemande was 
invented by the Germans, but adopted &■ popularized by the French, in the 16th century. It is 
especially characterized by graceful arm positions, which make it a very effective €r pleasing 
spectacle. The carriage is erect, although not stiff, for the head &- trunk bend somewhat, 
(usually toward whichever foot is pointed) to make the poses more graceful. Yet even then 
the erectness is not lost, for it is mainly in the carriage of the chest. Q The performers should 
never forget that they are dancing together, not each by himself. The gentleman looks at his 
lady with admiring glances, &• she does her best to please him with her dancing. 

The music, which should be played slowly, is in 2/4 time, but it is easiest to count to 4 in each 
meas. 

The initial formation is a group of 3 couples, 1 behind the other. Partners are side by side, 
both standing on Lf with K pointed forward; their L hands are joined in front &- held quite a 
distance forward, the Gentleman's R hand is overhead behind the Lady, €r La's R hand holds 
her skirt. They look at each other, G bending a little to L &■ La to R. Keeping this pos.. 

Move forward with 4 very slow steps, taking 4 ds (1 meais.) to each step.. .4 rrteas. 

Begin to form a triangle, the 1st couple going to R, 2nd to L €r 3rd straight forward with very 
short steps, all stepping as follows: Starting Rf forward, 1 chasse (ds I, and, 2), step Lf for- 
ward (d 3), &- hold (d 4). (A chasse is slide Rf forward, bring Lf up behind Rf &- slide Rf 
forward again) 1 meas. 



Repeat same twice more. On the last step G guides La so that she moves in front of him. 

2 meas. 

Step Rf to side (prelim, step), slide Lf back, &- courtesy &- bow to each other, finishing with 
weight on Lf &- Rf pointed forward. A courtesy always finishes with the weight on the rear 
ft. The G's bow in the old French dances is like a courtesy except that the bend of the knee 
is very slight &- the R hand is brought near the chest as if to say, "My respects to you ". ..I meas . 



(I 

The 3 couples are now in a triangle, partners facing each other. In this figure partners will 
change places with each other, keeping both hands joined, passing behind La &■ all facing in 
toward center of triangle. 

Join L hands with partner. Both begin Rf; G takes 3 steps to R side (or rather, step, close 6- 
step), passing behind La (cSs I, 2, 3), points Lf to side, (d 4), &- holds this pos. (ds 5'8). La 
steps Rf toward G (<5l I), step Lf forward, turning half'Way around to R (d 2), points Rf to 
side (d 3), &- holds (ds 4'8). She is now on the L side of G. The joined L hands are raised 
overhead as G steps behind La &■ the joined R hands are held in front of chest on d 4. G looks 
at La over her R shoulder. Hold this pos. for ds 5'8 2 meas. 

Change places as before, G moving behind La &- finishing with her at his R side. This time 
both take 3 steps &- point, G beginning Lf &■ La Rf Keep both hands joined, although the 
positions change, until the end of this Fig 2 mfeas. 

Repeat all, changing places twice more. La always takes 3 steps to the side after the 1st time. 

The last time make the chasse changing places, but omit the point, &- instead both take the free 

ft back (G Rf &■ La Lf ) ^ bow. The step preliminary to the bow is omitted this time.. . 4 meas. 

8 meas. 

Ill 

Partners face each other &- G takes La's R hand with his L. 



G, beginning Lf, does step (cits I, 2), point (ds 3, 4), in place &- repeats same with Rf, making 
a quarter turn to R(ds 5--8). La starts Rf &- does step point twice (R &r L) toward partner, 
making a quarter turn to R. Partners are now side by side facing opp. directions. On d 4 G 
psLSses his R hand behind his back &■ takes La's L hand with it; then they both lean back, look' 
ing at each other 2 meas. 

Move around each other, keeping this pos. &- each going backwards. The steps are Step point 
slowly 5 times, each time requiring 4. ds. Make 1 complete turn. G begins Lf &- La Rf....5 meas. 

Drop hands, face partner, 6- courtesy &- bow. G steps Rf to side to begin his bow, but La 

omits the preliminary step, merely iTioving Lf back to courtesy 1 meas. 

8 meas. 

^ lU H 

Face partners. Begin Rf &- move diag. forward R, separating from partner, with step &■ swing 
Lf.forVi/ard fds 1, 2), 1 chasse forward, starting Lf across in front of Rf (ds 3, 4), step Rf for' 
ward (ds 5, 6), &- point Lf to -He (ds 7, 8). La holds her skirt, G his coat 2 meas. 

Repeat starting Lf &- moving diag. forward L, each passing own partner back to back 6- 
approaching a ntw partner ^ 2 meas. 

Join R hands with the new partner, raising the R hands heigh £r dancing around each other 
with step point 4 times, taking 4 ds (1 meas.) for each time. The 3rd time join L hands (keep- 
ing R hands joined also > and holding them all at height of belt. Partners are facing each other, 
some distance apart 4 meas. 

Repeat these 8 meas. twice more, changing parcners each time. The last time the original part' 
ners are rejoined, £r do step point around each other 3 times only, finishing with the bow, with' 
out preliminary step 16 meas. 



24 



meas. 



The dancers leave the stage as they entered, in a column of couples, the same couple leading as 
at first. All begin Rf, step Rf &- swing Lf forward (ds 1, 2), I chasse forward (ds 3, 4), 3 
steps forward (R, L and R; ds 5, 6, 7), &■ rest (d8) 2 meas. 

Repeat 3 times more, or until off stage. If the performance be not on a stage both ladies and 
gentlemen finish with a bow 6 meas. 



iUi \iJ 



[T The following list of dances composed o/ 

! arranged, copyrighted, published and for 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1— Easy. 

2 — Of a little difficulty. 

3— Rather difficult 

4— Difficult. 

d.— Duet dance. 

g — Group dance. 

8— Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Svifords. Minuet. 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakov/iak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s vf. pantomime 2 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
CsSrdas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4, 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

'Her Warrior.^ Indian duet pantomime 
and dance, in 3 parts. 2. 

BALLET. 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note:— The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo.' Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill, Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. .Athletic; men or boys. 2, 
Old Welsh Dance, 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer, Indian. 1. 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each, 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 
(LaTempete). 1. 
Terrace, 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoifmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin, Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span, tanib. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s org 2, 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic, 1 adult 

and g of cliildren. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Plungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $3, 
The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: IDance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse BriUante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana, 2. I Minuet Waltz, 2. 

La Russe. 1, Sylvia Waltz. 2. 

The Countess. 2 | Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents up. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st; CHALIF DANCING 
This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated a? separate branches, but almost all 
the beauty of the original, and quii? all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, b.'^autiful, utterly captivating 
to the student, and furthermore bringing health, knowledfre of racial 
character, alertness, grace, and a soul-deep development esthetically. 
The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
" rlpnt ;t; a r.nmi-iletelv equipped teacher of Chalif and 



A Few "Words 
Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
tLs real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
cl-isses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house. 



AMERICA 

SERIES OF 6 CH()RACTERISTIC DANCES 

By LOUIS H. CHALIF 

other Characteristic and Demi-Character dances by the same author are listed 
below. Their price is $3 each. They can be procured only from 

The CHALIF NORMAL 
SCHOOL of DANCING 

7 WEST 42ND STREET. NEW YORK 



The Joy of the Rose. Pierrot pant. s. 2. 

Columbine. French s. or g. 3. 

The Village Belle. French s. or g 2. 

Jean et Jeannette. French d. 2. 

Le Toreador d'Andalousie. s or g 4 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

La Creole. Characteristic s. or g. 3 

America. 6 Characteristic dances, from Indian times 

lo tile present. 2. 

Bow and Arrow Dance. Male s. or g. 3, 



The Cherry Blossoms. Japanese d. w. pant. 2. 

Japanese Group Dane* For 8 or Ifi *2 1. 

Wegi?rka. Hungarian Military d. 2. 

The Hussar. Hungarian Char. s. or g. 2. 

Russian Court Dance, d. 2. 

The Mazovian Maid. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

Stach i Zoska. Polish d. with panto. 2. 

The Polish Princess. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

The Pied Piper. Characteristic, 1 adult & g. children. 



SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF OTHER DANCES B V THE SAME AUTHOR 



Copyriflht. 191 



by L u i 



H . C h a I i f 



AMERICA 



A SERIES OF CHARACTERISTIC DANCES 



INDIAN 



Arr. by Louis H.Chalif 



Introduction 



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America 



A SIMPLE GROUP DANCE, 

For 6 characters, 

by 

LOUIS H. CHALIF 

Q It is best to have 3 of the characters men &- 3 girls, but they may be all girls if necessary. If possible, 
have a girl for Indian, man for Puritan, man for Hollander, girl for Quaker, man for Colonial, and 
girl for the Present Day. 

Q The characters enter from L back comer of stage one by one, &■ those already on the stage face 
€r dance the same steps as the newcomer. The first formation after an entrance is always single 
file in a diag. line dancing forward &- the 2nd formation a straight line across the stage. 

During the introduction to the music no'one is on the stage. , 3 meas 

INDIAN PERIOD 
The Indian girl enters, dancing always in a crouching stealthy manner as if she is afraid of what is to 
come, &- dances diag. forward R with Step hop on Rf lifting L knee forward sharply bent (ds 1.2). 
repeat same with Lf (ds 3, 4), 3 steps forward (R, L, &- R; ds 5, 6, 7) 6- hold (d 8) The 
trunk is bent forward, the R arm extended forward as high as the head &- the L arm back' 
ward ... 2 meas 

PN.epeat the same steps moving backward, but still facing audience, starting Lf Reverse the arms 

2 meas. 

Repeat same moving forward, starting Rf 2 meas. 

Repeat step hop twice (L 6- R ), moving backward as before, then turn half-way around to L 6- 
move forward toward L back corner of stage with the 3 steps, to meet the Puritan, Finish in the 
crouching attitude usual in this dance 2 meas 

Hold this attitude < 2 meas. 

IQ meas 



PURITAN PEPvlOD 

The Puritan dances in a cold and solemn manner. 

He enters with: step Kf forward &■ hold (<fks I, 2), the same with Lf (dts 3, 4), step Rf back (d 5), 
step Lf back (d 6). step Rf forward (d 7), 6- hold (d 8) His hands are palms together in front 
of his chest, in the praying attitude. His carriage is erect but his eyes are cast down (ds 1'4). 
Then he extends his Ps. hand forward &■ his L hand back in the attitude of repelling the Indian or 
ordering her out, on ds 5 to 8 2 meais. 

Repeat twice more starting L 6- R €r moving forward, always using the R hand to repel the 
Indian , 4 meas 

Repeat the 2 slow steps forward (L €r R ), turn to L take the 3 steps forward to meet the Dutch' 

man. Finish with both hands extended to welcome him .2 meas. 

8 meais. 

While the Puritan is dancing these 8 meas. the Indian faces him €r does the same steps but exactly 
reversed, starting moving backward with Lf The Indian keeps her head bowed a little forward &- 
arms extended down €r backward Whenever the Puritan steps back the Indian steps forward 
with some show of spirit, as if trying to fight off the encroaching white man. There is something of a 
struggle expressed in pantomime. At the end both move toward the expected newcomer. The 
two hold the last attitude while the Introduction to the music is played 4 meas. 

DUTCH PERIOD 

The Dutch colonist dances in a rollicking manner. He enters with the following step executed 4 
times, diag. forward R starting Rf: 

MUM 

Step Rf forward (d I) brush L heel along the floor &- swing Lf forward (d 2), hop on Rf (d 3; i 

meas.) &- repeat 3 times more (L K &- L'3 meas. ■ The hands on hips or in the pockets all the time 

4 meas 

Turn in place once around with the same step repeated 4 times .- .4 meas 

Repeat all 8 meas 

While the Hollander is dancing the above the other 2 characters dance the reverse, starting Lf back 
&- moving backwards toward R front corner of stage With the last turning step all characters 
move so as to form a straight line across the stage and in this formation do the following steps all 
starting Rf: 



^ II. m 

Point R heel to side bending trunk to that side (ds 1, 2), step on Rf in place with an accent (d 3 A 
meas). Repeat with L, Pv 6- Lf (3 meas) 4 meas. 

Turn once around to R with step swing hop as above 4 times 4 meas. 

Repeat the first 4 meas of II ■• .......4 meas. 

Step swing hop twice, R &- L, turning once around to R 2 meas. 

Move toward back L corner of stage forming a diag. line, with 3 steps (ds 1, 2, 3; 1 meas.), step 

Lf forward &■ hold (ds 4, 5, 6; I meas.). The hands are extended forward in an attitude of weU 

come • •••. ■ .• -2 meas. 

16 meas. 

QUAKEK PERIOD 

The Quakeress should dance in a dainty dr demure way without any exaggerations. 

All characters stand still while the introduction is played 4 meas. 

The Quakeress enters &- dances diag. forwau-d R with: Step on Rf &- swing Lf forward (d 1 and), 
repeat same L (d 2 and; 1 meas.), step swing on Kf again (d 3 and), make rond de jambe (circle) 
backwards with Lf &■ courtsey transferring the weight to Lf (d 4), dr hold (d and). The hands 
hold skirt all the time 2 meas. 

Move diag. forward R with 6 little steps starting P^f each time &- stepping with Lf behind Rf. The 
ds are 1 and 2 and 3 and. Point Rf forward &- hold (d 4 and) 2 meas. 

Repeat the 1st 2 meas. of this figure • -2 meas. 

Repeat the 6 little steps moving backward. Start by crossing Kf over Lf &- keep the feet in this 

crossed pos. Finish pointing Rf forward • 2 meas 

8 meas 

The other characters on the stage dance the reverse of the Quakeress' steps, starting Lf back At 
the end all finish in a straight line in the center across the stage- 
All begin Rf Step Rf to side &- swing Lf across in front (d I and), step on Lf across in front 
of Rf &- hop lifting Rf behind (d 2 and), 3 steps backward toward L side (R, L &- R-'ds 3 and 

4) 2 meas 



Repeat starting Lf to L side 2 meas. 

Repeat moving forward all the time 2 meas. 

Pvcpeat moving backward &■ finish in a diag. line all turning to face L to welcome the next 



8 meas 
COLONIAL PERIOD 
This episode should be danced with dignity &- grace. 
All stand still while 2 meais. of introductory music are played 2 meas 

The Colonist enters €r moves diag. forward R with Step Kf forward, swing Lf forward &- hop 
almost imperceptibly (ds I, 2), repeat same Lf (<fts 3, 4), &- 4 walking steps forward (ds 5, 6, 7, 8). 

the hat is held in the L elbow, while the K hand holds the coat 2 meas. 

Balance Rf forward (ds 1,2), balance Lf back (ds 3, 4), bring Rf back making a slow bow finish 
ing with the weight on Kf (ds 5, 6, 7, 8) 2 meas. 

Kepeat all starting Lf 4 meas. 

10 meas 

At the same time the other characters on the stage move backwards with the same steps as the 
Colonist. 

m II. n 

The Colonist joins R hands held high with the Quakeress, the Dutchman faces &- joins R hands 
with the Puritan, 6- the Indian dances by herself around in between the couples finishing in her 
own place. Her steps are step hop slowly lifting the free ft forward each time with knee bent 
(ds I, 2) Her R arm is extended forward &- L arm back. 

The couples dance around partners with: Step Rf &- hold (ds 1, 2), same with Lf (ds 3. 4) £r 3 

steps 6- hold starting Rf (ds 5, 6, 7, 8) > 2 meas. 

Repeat .... 2 meas 



Join L hands 6- repeat all, dancing around partner in the other direction but starting Rf again 
Only instead of the last 3 steps take the Lf back making a slow courtesy to partners, &■ finishing with 

weight on Lf . ..4 meas. 

8 meas. 

THE PRESENT DAY. 

While the introduction is played all move sedately to form the diagonal line facing the newcomer. 

2 meas. 

The One Step 

The girl of the Present Day enters &- moves diag. forward with: Step Rf forward &- hold (ds I , 
2), step Lf forward &- hold (ds 3, 4). &- 4 quicker stps ''ds 5-8). Her hands are on her hips about 
6 inches below her belt as in the innovation waltz. During these 2 meas. the others do the same 
thing, starting Lf back 2 meas. 

Each takes the regular dancir^g pos. with nearest neighbor &- turns slowly in place to R with the one 
step turn, taking 4 steps in all'2 ds to each step 2 meas. 

Repeat all, this time with partners, all the time in the standard ballroom dancing pos 4 meas. 

8 meas. 

The Lulu'Fado. 

All 3 couples should be in a straight line. 

All separate from partner, (not turning around) with 3 steps (ds 1, 2, 3), the gentlemen moving to 
L &- starting Lf &- the others dancing the reverse part. Hold the last step, looking at partner over 
the shoulder, &- snap the fingers, the hands being in 4th pos. on L side (gentleman's part) (d 4). 

I meas. 

Repeat moving back to partner, starting inside ft, &- adding a clap of the hands on d 3, as well &s 
snapping the fingers on d 4 I meas. 

Repeat all 2 meas 



Take the dancing pos. &- turn partner to R side with the one-step turn, of 8 slow steps taking 2 ds 

to each 4 meas. ■ 

8 meas. 



M (11. m 

The Tango 

All couples are in a straight line across the stage each sideways to the audience Keep the dance pos. 
but turn to face audience €r move forward with the following steps, gentleman starting Lf ^ lady 
Rf: Step Lf forward (ds 1, 2^, step Rf forward (ds 3, 4), step Lf across in front of Kf striking 
Rf out backwards (d 5), slide Rf backwards (d 6), strike Rf out backwards again with Lf 
(d 7) €r pause (d 8)... 2 meas. 

Step Rf forward (ds 1. 2), step Lf forward (ds 3. 4), kneel on R knee Cds 5, 6), rise &- stand on Rf 
&- face partner (ds 7, 8) 2 meas. 

Repeat all 4 meas. 



8 meais 

FINALE 

All release partners &■ run to form a straight line across back of stage, for the introduction. Make I 
complete turn while running 4 meas. 

All hold the skirt or coat with both hands during this entire figure, &- all start Kf Step Rf across in 

front of Lf cutting Lf out backward (d I), slide Lf back (d and\ cut Lf out again with Rf (d 2) 

1 meas 

Repeat starting Lf 1 meas. 

Point R toe in front of L toe (d I), swing Rf forward (d 2). &- repeat (ds 3, 4\ At the same 
time hop 4 times on Lf 2 meas. 

Repeat the first 2 meas. of this Fig 

4 running steps forward starting Rf 

Repeat all- 



2 


meas 


2 


meas 


8 


meas 



16 



Step on Rf (d 1), swing Lf forward Cd 2), point L toe in front of R toe (d 3), €r swing 
Lf forward (d 4). Hop on Kf on (ds 2, 3, 4) 2 meas. 

Step Lf across in front of Rf cutting Rf out backward €r slide Rf back (d 1 and). Repeat 3 times 
more but finish with the weight on Lf, omitting the last slide with Rf 2 meas. 

Repeat all twice more o meas. 

Repeat the 1st 2 meats, of this Fig 2 meas. 

Take 3 steps forward (L, R 6- L; ds I, 2, 3), take Rf back &- courtesy. The music should retard 

on the last meas . 2 meas. 

16 meas. 

THE FIVE POSITIONS 

\ 

1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 

2nd Position: The arms ajre raised sideways a little below shoulder level. 

3rd Position: The K arm makes a half-circle over €r in front of the head &■ the L is in 2nd pes. 

Reverse for "L arm in 3rd pos, " 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position: The K arm makes a half-circle over &- in front of the head and the L is in 2nd pos. 

Reverse as above. 
5th Position: Both arms make a circle over and in front of the head. 
Lateral Positions have one arm in 2nd pos., and the other in 1st. 
Step Swing means swing the free ft forward &- at the same time hop on the other. 
Step oi Slide Hop is hop on one ft &- lift the other backward. 
Slide Step Step Hop demands that the free ft be lifted backwau-d. 
Slide Step Step Swing demands that the free ft be lifted ford. 



DANCES BY LOUIS ^'H. CHALIF. 



The following list of dances composed Ok" 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATlc.j 

1— Easy. 

2— Of a little difficulty. 

3— Rather difficult 

1 — Difficult. 

d — Duet dance. 

g — Group dance. 



: NATIONAL. $3 Each. 

Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilen^. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabanae. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2, 
Gavotte. French s or g 2. 
Gavotte Direcloire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2, 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Tsardas. s or g 3. 
The Magyar. Csardas s or g 3. 
."^nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



I CHARACTERISTIC BALLET. 

I $3 Each. 

Light and Darkness. Or. d. w. panto. 3. 
The Shepherd and the Angel. Panto- 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 

La Fete de Jardinier. rantoirii:ne and 
six dances. $10. 

Christmas Festival Series of D^nce:. 
Suitable for a Kirmess. ?5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 

Note: — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. L 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
I'orlane. C)ld French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. • 
Rustic 'Dance. Old English. . 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheek .•\thletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. L 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm ( Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1, 



Fl 



of 



Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1 
Soldier's Joy. 1, 
Speed the Plow. 2, 
Three-Hand 

Ring. 2. 
The Tempest 

(La Tempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvoi^ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span, tanib. s or g 3 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. 
Bluette Polka, s or g 3. 
Esthetic Waltz, s or g 2. 
Eugenie Onyegin. Walt: 



$2. 
s or g 3. 



The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3- 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $L 
Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at. 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50, 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid. $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express. paid. $10. 



iE 



■ V 



NORMAL SCHOOL OF DANCING 



IT IS located in New York City, at 7 West 42nd Street, and leaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the S'^hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art which while allowins; an amateur 
to make rapid progress is yet authentic, bc'autiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arw: and the 
rest of the body has been kept equally important with the use of th« 
.feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
Vnt training in Pedagogy is furnished. By the time of graduation 

-■-dinary student is a completely equipped teacher of Chalif and 
gj^^t L. A-,n^;,^rr on .=.^^^l;K;tinn Aanrpr anfl n roTinoser of dancBS. 
iHpnt i« a fomnieteiv eauim 



A Few MTords 
Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been, 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
tb« real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
c-r.sses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on appjication. 



ARABIAN SOLO DANCE 
By LOU IS H. CHALIF 

OTHER GREEK AND (NTERPRETIUE DANCES BY THE SAME AUTHOR ARE 
LISTED BELOW. tfi K THEV CAN BE SECURED ONLV FROM 

THE CHALIF NORMf)L 
SCHOOL OF Df^NCING 

7 WEST 42ND STREET. NEW YORK 

Bacchanal Pastorale 

Diana Diana's Hnting Party 

Prelude Morning 

Noon Night 

Anitra's Dance 

Greek Maideni Playing Ball. Very effective. 2 $2 The Moon Dance. Oriental Interpretiv* (. or g. 1 

Pompeian Flower Girls. Old Roman g. 2. Psyche. Interpretive s. or g. 2. 

Spirit of Spring. Greelc Interpretive s. 3. Song of the Robin. Interp. i. or g. 1. 

Summer. Greek Interpretive s. 2. The Song of the Robin. Interp. •. or g. X 

Autumn. Greek Interpretive s. 3. Blue Danube Waltx. Interp. s. or g. J. 

Winter. Greek Interpretive 9. 2. Humorcik* (Dvof^ik). Greek t. 3. 

Chopin's Waltz, C sharp minor. Int. s. 3. Wind and Wave. Greek t. 3. 

Valse Caprice (Rubinstein). Int. s. 3. Cymbal Dance. Greek a. or g. 3. 

Spring Song (Mendelssohn). Interp. 9.2. Forest Spirits. Greek. For 12 young womta. X 

Chopin's Waltz in D flat. Interp. flower d. Barcarolle from "Hoffmuin." Greek t. i- 

The Blue Danube Waltz. Interpretive s. or k- Moment Musical. Greek 9. x 

Hark, Hark, the Lark! (Schubert). In. s. 3. Light and Darkness. Greek duet with pantomime. ' 
Cleopatra's Dance. Oriental Int. s. or g. 2. 

SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF DANCES BY THE SAME AUTHOR 

Copyright. 1915. by Louis H. Challf 



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Anitra's Dance, a 



Anitra's Dance 

ARABIAN SOLO 
Somewhat elaborate, by 
LOUIS H. CHALIF 

01 This dance, which is supposed to be performed by Anitra for Peer Gynt, should be char- 
adenzed by softness, fire &- dignity It should be full of a voluptuous languor, shown in a beaut- 
ful continuous movement of the arms, head &- upper part of the body At rhe same time there 
should be a spirit of fire, evidenced by marking strongly and always the pronounced accent of 
the music. And finally ihere should be the dignity of the daughter of a Sheik 

Q The dancing should be on the toes a-; much as possible. The fingers should Idc rather close 
together £r straight, but not stiff The arms are either moving steadily, £7- v\/ith a rather snaky 
motion, or are absolutely motionless, when an attitude has been taken 

C5 The costume contains a skirt coming to 12" from the floor, a waist of the same material 

cu! in straight lines, with short, very full sleeves open at the cufF, a long scarf, bright striped 

&- wide, lien around the hips with the ends hanging dow/n in front, a similar scarf with ledge 

pinned tight around th(=- hsad. the rest of it hanging down bel- nd to about the want bangles 

around the neck £r forehead, many chains of beads. &- jingling anklets The colors of the cost 

ume may be bright ones, 

INTRODUCTION 

Before the music begins enter with slow steps, the arms crossed over thtr ^hest rhe head Senr 

forward Walk thus to center of stage. On the 1st chord step forward on Lf lifting both 

arms diag forward upward 6- to side, &■ lift the head. Hold this attitude during the hold in 

the music . . . 2 meas 



Anitra's Dance 2 
Leap slide step forward, starting Rf (d 1, 2, 3), somewhat as if doing a pas de Basque in a 

straight line. Kepait starting Lf backward (dt 4, 5, 6) The arms are in 2nd pos. palms 

down dr wave up &- down from the shoulder twice, the straighter part of the waving coming 

on ds 2 &- 5. The trunk &■ head bend slightly to L &- R &- the chest is much elevated on 

going forward 2 meas 

Kepeat same 2 meas 

6 meas 

^ {. m 

I complete turn to R with 6 little steps thus; Step Rf tc side (d I) step Lf behind R heel, 
turning half'Way around tc R (d 2), step Rf in same place as before (d 3), step Lf 
toward R side of stage (d 4), step Rf behind L heel completing the turn io R (d 5). 
&- step on Lf in same place as before (d 6). The arms are 4rh pos wirh R arm up 
^r- same with L up, passing through 1st pos in changing 2 meas 

Kepeai the 2nd 2 meas of Introdudion. starting with a tiger>like leap forward 2 meas 

Kepeai all - 4 meas 

Point R toe to R side (d I), hold (d 2): &- 3 little steps on the toes moving to L side 
th'js- srep Rf behind Lf to L side t- Rf in from (d and 3 and) . . I meas 

Kepeat same 3 times more starting with L R ^ L feet alternately 3 meas 

The arms in the above 4 meas are 2nd pos palms down f-r wave up fe- down from 
the shoulders. Whenever the toe is pointed the arms are in sagging curves i e lie hands 
are higher than the elbows. 

Turn to R with a pivot turn 2 or more imcs around (8 dts). step Kf forwa rd d 9). step 
If forward 'd 10), dr hold (d II, 12). (A pivot turn is- step on Kf on ihe roe first then 
<jown (d 1), step on L toe behind K heel (d and). &- repeat (d 2 and 3 and, etc.). 



Aniira's Dance 3 

't IS as if Rf were a pivot &- the Lf were pushing the dancer around. The arms de' 

scribe 2 inward circles thus; Lift the arms sideward to overhead, place both hands together 

wtih palms backward (preparation), bring the hands slowly down, passing in front of the 

face with the elbows diredly downward &- near together, to the middle of the chest, keep' 

ing the hands close in toward the face &- chest, then separate them, bring them down &■ 

back, lift them sideward &- upward again (ds 1'6) &- repeat, starting on d 7 to bring the 

hands down in front of the face, but this time finisning on d 10 with the arms down, 

back &■ lifted at an angle of about 45°, the wrist bent back so that the palms are parallel 

to the floor Take this final attitude with an accent with the hands &- raising the head £r 

pushing up the chest '. . 4 meas 

16 meas 

M (I. m 

Step diag. forward on Rf &- hop lifting Lf forward with knee sharply bent (d I, 2.^ 3), 
step on Lf across in front of Rf (d 4), &- immediately place Rf close behind L knee with 
R knee straight forward, €r hold this pos. (on toe of Lf if possible) for d 5, 6. On d 
1, 2, 3 the R arm is extended forward, the L arm is back below shoulder level, ^ the head 
IS erect, on d 4, 5, 6 place the R wrist on the forehead with the hand vertical ^ palm 
forward, forearm horizontal, while the L hand &- forearm are horizontal. &- to side with 
back of hand under the chin • ; 2 meas 

Holding this arm pos. move diag. back\^'ard to L with pas de Bourree coupe, twice as 
follows: starting Rf take several little steps backward on the toes, keeping the feet together 
£r Rf behind Cd I, 2), lift Lf forward suddenly, keeping it quite close to R leg, with knee 
straight forward &- at the same time slightly bend R knee, (d 3), ^ repeat (d 4, 5, 6). .2 meas 

Repeat all starting Lf diag. for\A/ard to L side [ 4 meas 

Repeat the last 8 meas of Fig. 1... 8 meas 

16 meas 



Anitra's Dance 4 

m III. m 

Leap diag. forward R onto Rf (d 1), bending R knee leaning far forward &- leaving Lf on 
the floor &- stretched far back with knee straight. The L arm is extended forward head-high, 
6- the K arm down 6- back. There should be a long, slanting, straight line made by the L 
arm, trunk &- L leg. Rise very slowly, keeping the weight on Rf, L toe on the floor, &- 
gradually drawing Lf toward Kf, bring arms to 4th pos L up, turn slowly to L. gradually 
transferring the weight to Lf €r leaving Rf pointed across behind, changing the arms while turn- 
ing to 4th with R up. The leap in these meas. is taken suddenly, while the rising &- turning 
are very slow &- continuous, occupying the whole 4 meas. In this turn the body &- head bend 
very decidedly back to R &- L 4 meas 

In this next group the steps are taken on the regular ds, although the music contains pauses 
(rests) &- eccentric accents. Traverse .a square on the floor 6- turn once around to L, with 
steps similar to 4 backward pas de Basque, as follows: leap on Rf to R side (d 1), make a 
quarter-turn to L sliding Lf far back ^ bending R knee id 2), step on Kf in same place as 
before £r straighten R knee (d 3). repeal starting Rf i e.. leap on Lf to L side 'd 3), make 
a quarter-turn to L, sliding Rf far back ,d 5), step on Lf in same place as before (d 6), 6r 
repeat, all making 2 more quarter-turns to L &■ completing the square ;ds 7-12 i. Whenever 
sliding Lf back lean far forward, bending to L side, &- sweep the L arm down in front almost 
touching the floor while R arm is extended sideward &- backward Before starting the steps 
with Lf resume an almost ered pos. Reverse the above attitude when sliding Pvf back . . 4 meas 

Kepeat all. 8 meas 

16 meas 



Anitra, Dance 5 

Leap on Rf to side turning to face R (d 1). &- 2 steps in place (L €r R: d 2, 3). The 
attitude on d I is this: the L leg -is lifted with knee hent at a right angle, the L knee is 
Wned in so that the L lower leg is in same plane as shoulders, R arm is raised forward, 
upward &- curved above head, palm up, L arm is sideward cr Jown with hand bent up- 

ward so that palm is out, fe- the trunk is rhrown hack f-r head locks up at R hand 1 meas 

Kepeat starting Lf €r turning to face L In oreparation for faking the attitude bring the 
arms through 1st pos. making small inward circles of the wrists in doing so I meas 

Kepeat same starting Rf I meas 

Step on Lf to L side d I). &- hold making an inward semicircle with he arms, v--ry slowly 
as described for the last 2 meas of Fig I, but taking twice a? much music as there for the 
movement. Finish with arms backward 6- downward as in Fig I 4 meas 

Kepeat all starting Rf again . . 7 mea? 

14 meas 

Wi U. E4 

This Fig. IS danced in a circle 

Leap onto Rf turning to face R in the attitude o^ the first meas of IV (d I) dr hold (d 2. 3). 1 meas 

Moving forward around the circle, take ''■ steps on the toes d I. t i starting step Lf actoss 

over Kf On the 3fd step bend L knee to make a slighi accent i-r ^i the same .imt- extend 

Rf rorward preparatory lo stepping on it The arms are as m rht- l-i 2 meas the crunk s 

bent back &- lo L &- the head is thrown ba.k '"t- looks over L -houlder I meaj 

Kepeat the same 3 steps starting Rf The arms are the .same as in the previous meas I meas 

Cross Lf over Rf &- turn on both toes completely around to R, keeping the feet close together 

The arms are 4th pos. R up to 4th L up, passing through 1st pos. in changing. The trunk 

bends to L ^ R 1 meas 

Repeat all 3 times more, always starting Kf, completing the circle The attitude in the 1st meas 

should be taken each time as if it were the finish of the turn 12 meas 

.16 meas 



Anitra's Dance 6 



Ul. 



Kepeat the steps of Fig. II., Di^i with a different pos. of the arms on the 2nd meas, thus: the 
backs of both wrists are placed on top of the head, the hands are vertical with baseks of hands 
together; the forearms are horizontal .... 2 meas 

Keeping the arms in this pos., move diag. backward L with 2 small pas de Basque starting Rf 
(ds 1'6). (Pas de Basque backward is: leap Rf to side (d \\ slide on Lf a little back of Rf 
,d 2), &- step jn Rf cuiting Lf out backward id 3). The trunk dr head bend to R 6- L 2 ^lea^ 
Repeat all starting Rf again hut moving diag. forward to L ." .4 meas 

.Repeat same starting Rf &- moving diag. forward R .4 meas 

Repeat the last 8 meas of Fig. 1 8 meas 

Step Rf back &- hold (d I, 2, ^) bending head &- trunk slightly forward I meas 

Step Lf back ^ hold, bending a little farther forward &- crossing the arms on the chest . I meas 

22 meas 
At this point, the music having come to an end. walk backward off stage keeping the final attitude 

POSITIONS OF THE ARMS 

1st Position The arms make a circle 'm from of the chest at the level of the middle ->f fhe chesi 

2nd Position : The arms are raised sideways a linle below shoulder level. 

3rd Position . The P\ arm makes a half-circle over ^ in front of the head £r the L is in 2nd pos 

Reverse for " L arm in 3rd pos' 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position : The K arm makes a half'Circle over & in front of the head &■ the L is in 1st pos 

Reverse as above. 
5th Position : Both arms make a circle over &■ in front of head. 
Lateral Positions have one arm in 2nd pos &■ the other in 1st. 

O 



Ar r V } 




D'ANCES BY LOUIS H. CHALIF. 



The following iisdt of dances composed c 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



1 — Easy. 

2— Of a little diamllr. 

3— Kather diSmlt 

4 — Difficult 

d — Duet daac«. 

g — Group dance. 

8— Bolo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
CsardSs. s or g 3. 
The Magyar. Csardas .1 or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pan- 

'omime ballet. $10. 
In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note:— The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 
First of May. Sw. 50c. 
Mountain Trio Dance. 
May Dance. German. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



w. folk song. 
Norwegian. 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(LaTempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or ,g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant.2. 



3. $J. 



$3. 
1. $2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 
The Fairy Queen, s or g 2. $3 
Fireflies, s ..r r 2. $2. 
The Golden Butterfly, s or g 4. 
Little Fairy Snowflake. s. or g. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls, 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia," 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, tl. 

Furlana. 2. I Minuet Walti. 2. 

La Russe. 1. Sylvia Walti. 2. 

The Countess. 2. | Gavotte Walts. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new. in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school. 
at $,50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in itock »> 
prices from 25 cents ud. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

\'ol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, ae described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, ky 
Friedrich A, Zorn. .'\n important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAL SCHOOL OF DANCING 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical trainine. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it hav^-^ come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

ims is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
5tage detail have been treated as separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
B?ilroom dancing, an exhibition dancer and a composer of dances. 



A Few >Vor4> 
Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has beea 
found that the students will listen to no one else while the privicipal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," ha» 
helped its enrollment. 

4tn: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cauie 
for the fame of the Chahf School. Everywhere there is a deman'^ ior 
tU< real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
Cr?Lsses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



a rnmniKre 



innser or oancca. 



AUTUMN 



A N 



INTERPRETIUE 



SOLO 



DANCE 



By LOUIS H. CHALIF 

OTHER INTERPRETIUE AND GREEK DANCES ARE LISTED 
SELOW THEy CAN BE PROCURED ONLY FROM 

The CHALIF NORMAL 
SCHOOL of DANCING 

7 WEST 42ND STREET. NEW YORK 



Bacchanal 

Diana 

Morning 

Noon 

Night 

Greek Maidens Playing Ball. Very effective. 2 

Pompeian Flower Girls. Old Roman g. 2. 

Spirit of Spring. Greek Interpretive s. 3. 

Summer. Greek Interpretive s. 2. 

Autumn. Greek Interpretive s. 3. 

Winter. Greek Interpretive s. 2. 

Chopin's Waltz, C sharp minor. Int. s. 3. 

Valse Caprice (Rubinstein). Int. s. 3. 

Spring Song (Mendelssohn). Interp. s. 2. 

Chopin's Waltz in D flat. Intefp. flower d. 

The Blue Danube Waltz. Interpretive s. or n 

Hark, Hark, the Lark! (Schubert). In. s. 3. 



Pastorale 

Diana's Hunting Party 
Prelude 
Anitra's Dance 
Cleopatra's Dance. Oriental Int. s. or g. 2. 

The Moon Dance. Oriental Interpretiv* s. or ■. 2. 

Psyche. Interpretive s. or g. 2. 

Song of the Robin. Interp. i. or g. 1. 

The Song of the Robin. Interp. s. or g. 2. 

Blue Danube Waltz. Interp. s. or g. 3. 

Humoreske (Dvorak). Greek •. 3. 

Wind and Wave. Greek «. 3. 

Cymbal Dance. Greek s. or g. 3. 

Forest Spirits. Greek. For 12 young womca. 2. 

Barcarolle from "Hoffmann." Greek a. i. 

Moment Musical. Greek s. 2. 

Light and Darkness. Greek duet with pantomime. < 



SEE BACK COUER FOR EXPLANATION OF ABBREUIA- 
TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR 

COPYRIGHT 1915 BY LOUIS H. CHALIF 



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lutiiiiin 

AN INTERPKETIVE SOLO DANCE 

Not very difRcult. by 

LOUIS H. CHALIF 

The costume of the dancer, who is the season personified, should be of brilliant autumnal colors, 
dr over it a long cape of a yellovvish brown chifFon, fastened on at the shoulders. This cape is 
taken off in the 4th figure to typify the change in color of the leaves. At the beginning of the fall 
the leaves are faded by the heat of summer &- everything is dull &- colorless. But later when the 
frost comes, the leaves burst into color again &- ths world is gayer than ever before. 

m 1. il 

The Falling Leaves. 

In the L hand are carried a pile of leaves, tightly compressed like a pack of cards. 

Enter from L side of stage &- take several leaves in the R hind. Slids hop diag. forward K on 

R ft. (dt. I, 2), 2 short steps backward ( L &- R), &- 1 step forward ( Lf d; 3 £7- 4 ). Raise arms to 

3rd position, palms down, &- open the R hand letting the leaves fall (d 1, 2). The R hand swings 

down, to 1st pos. &- the body is bent forward &- twisted to L ( d: 3, 4) 1 meas. 

Run in a very small circle to R with many litile steps, to represent the wind whirling the leaves after 

they have fallen. Take some more leaves in the R hand while turning. The R arm is raised 

to 3rd pos. amplified while turning ^ the body is straightened I meas. 

Repeat all 3 times more diag. forward R 6 meas. 

8 meas. 



Autumn, 2, 

The last time drop all the leaves ^ finish in the following arabesque, which symbolizes Autumn. 
Stand on Rf with Lf raised behind, arms in 4th pos. R arm up, with palms turned toward each 
other as if holding a large quantity of fruit, the body bent to L, This pos is one which 
signifies plenty. 

II. 

The south wind searches for the flowers, whose fragrance late he bore, 
And sighs to find them in the wood and by the stream no more. 

Bryant 

A. 

Leap on Lf to L side £r step Rf across in front of Lf (d 1), ( pause d 2 ) repeat same twice 

more ( d 3, 4, 5, 6 ), &- step Lf to L side (d. 7, 8 ). The arms are in 2nd pos. palms down 

for the 1st 2 executions of leap step, &- the body is bent forward as if looking for the flox^ers. 

At the 3rd execution cross the arms in 1st pos. &- open them slo\^/ly \^'nen Lf steps to side. in 

pantomine this means dissappoiniment 2 meas 

Kepeat all to K side 2 meas 

4 neas. 

The robin and the wren are flown. 

B. 

Kun to L side, starting Lf with many little steps ( 4 ds ). The arms form 2 parallel lines for^ 

ward upward to L side &- the hands flutter, signifying birds. 1 meas 

Stand on Lf &- look up into the sky. The body is bent back 6- the arms move slowly until they 

are as far back as possible &- much below shoulder level, palms down ( 4 ds). 1 meas 

Autumn now thinks that she may be able to hear the birds though she cannot see them, but is disap 
pointed. 2 steps to L side starting Pvf crossing over Lf ( d 1 ). Listen with L hand at ear 



Autumn 3. 

dr R hand in 2ncl pos. ( d 2, 3, 4 ) .1 meas 

2 steps to R side, ( R &- L ), crossing Lf over Rf ( d 1 ), with the pantomine for disappointment 

as in previous fig. ( d 2, 3, 4 ) ....I meas 

Repeat all starting Rf to R side. At the end take 3 steps, finish on Lf .4 meas 

8 meas 

H 1 1 1 ii 

The woods of autumn, all around our vale, 
Have put there glory on. 

I waize turn to R side ( consisting of 2 waize steps ). with arms in 2nd pos. ( d 1,2), step Rf to 

side &■ hold the pos., meanwhile with R hand unfastening the cape at the front of L shoulder 

( d 3 ) &- then take 3rd pos. with R arm up ( d 4 ) I meas 

Repeat same to L side, unfastening the cape- at front of R shoulder with L hand I meas 

Repeat same to R, unfastening the cape at back of R shoulder I meas 

Repeat same to L, unfastening cape at back of L shoulder &- throwing it away 1 meas 

If a cape be not used with the costume this fig. may be danced as described, but Wiih the discard' 

ing part of the costume expressed by pantomine. 

m 1 u. m 

Listen. ...how the hounds and horn .- 

Chearly rouse the slumbring morn, 
From the side of som hoar hill. 
Through the high wood echoing shrill. 

Milton 



Autumn cont 

lU. 
A. 

Step R ft to side &- step Lf across in front of R ft (d. I ) Hold this fxss 6- blow an imaginary 
horn to R side , .... 2 srjeas 

The galJc^ing horses touch the floor twice with R toe, lifting the knee, to imitate a horse pawing 
the ground j meas 

Move diag foward P\ with the following step repeated twice: Leap R ft. to side &■ step Lf across 
in front of Rf . lifting both knees f meas 



Repeat the last 2 meas. in same direction 2 



meas 



During these last 4 meas. the arms are extended forward in 2 parallel lines with hands closed 
palms down, as if holding the bridle reins. Move the hands in lime to the music &- finish in 3rd 
pos. with R arm up. Repeat all diag. forward to L. To start, step Kf across in ^^ont of Lf £r 
hold while blowing horn. Finish on Rf 6 meas 

IV. 
B. 

I was with Hercules and Cadmua once, 
When in a wood of crete they bayed the bear. 

Shakespeare 

Dance in a circle starting to L towards back of stage, with this step: 

Step hop on Lf 6- step hop on Rf lifting the fi-ee ft. behind each time. The arms are 3rd pos. K 

arm up 6- 3rd with L arm up (in oppxssition) 1 meas 



3 steps foward (L, R &• L), On the 1st 2 steps the arms are 2ncl pos; on the 3rcl step the R 

hand is held so as to shade the eyes &■ the body is bent forward as if looking for the game ...I meas 

Repeat all, starting Rf 2 meas 

Step hop 6 times, with arms in opposition in 3rd pos .3 meas 

Leap forward on to Lf 6- shoot to L side of stage with an imaginary bow &- arrow. Hold 

this pos. with Rf raised behind. .1 meas 

20 meas 

INTERLUDE 

Kun in a little circle to K, &- finish on Rf in the arabesque of autumn, descritjed in the 
Isi Fig 4 meas 

m V. m 

The Vintage 
n* Gathering the grapes. 

Dance the following 4 times in a small circle to the R clockwise. 

Slide hop on Lf lifting Rf behind, &- raising the arms diag. forward upward to L side 

imitate with the hands the plucking of grapes 1 meas. 

Slide hop on Rf, raising Lf behind, &• move both arms down to Pv side as if throwing 

the grapes into a basket in the center of the circle 1 meas. 

Repeat all 3 times more 6 meas. 

B* Treading the wine-press "Autumn, her feet empurpled with the blood of grapes." 

Step hop on Lf &- on Rf lifting the free ft forward. The arms are 3rd to 3rd pos. . 2 meas. 
Turn completely around to L with 4 running steps in place arms diag. upward . . .2 meas. 
Kepeat the last 4 meas 4 tneas. 

C* Tasting the wine. 

Reach down towaird floor to R. with R hand &- dip up an imaginary cup of wine. 

Hold the cup in both hands 6- raise it to the lips; then drink, 

Bending the body back. (8 ds). 4 meas. 

Pvepeat to L with L hand , .4 meas 

24 meas. 



Bacchanale. 

A, This section .(16 meas) is danced in a circle to R starting Rf. 

Cross Rf over Lf &- take 3 step .(R, L €r R.) 1 meas 

Repeat starting Lf over Kf. Lift the knee forward &■ bend the body forward, Ex- 
tend L. arm forward shoulder high &- K arm back when stepping on Rf (opposition.) 

Reverse arms when on Lf I meas. 

4 skipping steps lifting the knees forward, starting Rf. The arms are 3rd pos. from side 
to side in opposition. The body is not bent forward, but bends from side to side . 2 meas. 

Kepeat all 3 times more 12 meas 

16 meas 

B, Repeat in place the same steps as those just danced in a circle, but do the 4 skipping 
steps turning in place to L side. To begin this turn step Rf across in front of Lf. 

N^hile turning clap the hands as they pass from 3rd pos to 3rd pos 4 meas 

Repear same 3 times more 12 meas 

At the end of the laist repetition, take 3 steps in place instead of step hop twice, dr fir sh 
on Rf in the arabespue of Autumn. Hold for I meas I meas. 

17 meas. 

POSITIONS OF THE ARMS 

1st Position. The arms make a circle in front of the chest at the level of the middle of the chest 

2nd Position ; The arms are raised sideways a little below shoulder level. 

3rd Position : The K arm makes a half'Circle over &■ in front of the head &- the L is in 2nd pos. 

Reverse for " L arm in 3rd pos-" 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position : The K arm makes a half-circle over 6- in front of the head €r the L is in 1st pos . 

Reverse as above 
5th Position : Both arms make a circle over &- in front of head. 
Lateral Positions have one arm in 2nd pos. &- the other in 1st. 




ii r i^ I 



D'ANCES BY LOUIS 



The loiiowing list of dances comoosed o." 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABEREVlATlOWs 

1 — Easy. 

2 — Of a little difficulty. 

3— Rather dlfUcidt 

4— Difficult. 

d — Duet dance. 

g — Group dance. 

e^Bolo dance. 



NATIONAL. $3 Each. 
I'urlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. .Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilefia. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, SOc. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
rhe Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
"sardas. s or g 3. 
rhe Magyar. Csardas s or g 3. 
'nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

rhe Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

V Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Fler Warrior. Indian duet pantomime 
and dance, In 3 parts. 2. 



FOLK. $1 Each, 
Note: — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. SOc. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish- 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian, 1. 
Snow Storm ( Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance, 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 

Windsor 



SOc. Each. 
Money Musk. 2. 
Off She Goes. 2. 
PetTonella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(LaTcmpcte).l, 
Terrace. 2. 



BALLET. 
La Fete de Jardinier. Pantomime and 

six dances-. $10. 
[Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
""he Sun, or Earth's Awakening. Pan- 

-:imime ballet. $10. 
■n Cleopatra's Court. Panto barict. $10. 

THE CftALJF 

IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical traininsr. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the b'-.hool which radiates it have come into a North /^mericaii repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st; CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated a'^ separate branches, but almost all 
the beauty of the original, and qua- all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowleds-e of racial 
character, alertness, grat,c, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding succe'^s, 
especially in three particulars. First, the use of the Anii.s and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an exce!- 
""ning in Pedagogy is furnished. By the time of graduation 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, e 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi^rka. Plungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



3. *J. 



$3. 
1. $2. 



$2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $J. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or 
The Fairy Queen, s or g 2. | 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g ^ 
Little Fairy Snowflake. s. or g 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. .$2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, Si. 

Furlana. 2. I Minuet Walti. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. 1 Gavotte Walta. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new. in their most 
beautiful, modest, teachable and stand- 
ard form, are published bv the school, 
at $.50 and up, 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock a' 
prices from 25 cents no. 

OTHER WORKS 

For sale onl}' by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

\'ol. I. The stand.'ird positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exiercises for 
Technique, as described in the Text 
Book, and . including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sap- 
plement, express paid, $10. c 



fC] 



A Few 'Words 
Concerning It 



:; I 



2nd: L, H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years cf age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been. 
found that the students will listen to no one else while the priiicipal 
is on the floor. 

3rJ: LOCATION 

The position of the rchocl in the uptown transportation center 
of New York "the most popular summer resort in the country," has 
helped its enrollment. 

4tfi: T H;^,'M OV E M E ^^ FOR ARTISTIC DANCING 
which is more and more^^cendant in this country, is the final cause 
for the fame o^ the Chalff Schoci. Everywhere there is a demanr*. for 
tl-« real dancins. and here one can be trained tojseach it. 
/ -' " \' 

c o u :: s E s 

Each yejt during June and ^uly!,th^e is a normal school with 
Cr'sses all day, both in the regular Chalif'and B^lroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 



BABORAK 

l' A BOHEMIAN PEASANt" ] 
Uoohen:i i<a /2 ^o /M M)<^ race, e. trr . 6y 

LOUIS H .CHALIF 

re/^&r-^ry as iaina r%c. ncifLon'S d&si ^ consisi o-f appropriate r>^^lS■2c cxn a C0777/>i: 
c/djcrip^io/^ iS>-f- ihc cja/ici- . ^/^ey are. coy>i/^"?^^ ^'^^ Ctrxf can l)i y:>7'oci-cr(^d on/y /rx^7i 

St2e Cbafjf ^2ptmoLC Schoot of ^(xncing 

7 lYest ^2nd Sl.^Wilorfe 



'7y>2efr: 

















3'icc 0/2e^o//c7r6(^c^ 




MANCHfGAS 


Spani'sl- 




HlGHLAMD SC0TTI3CHE Scotch. . 


ZORONGO 


Spanish 


IRISH LILT 


Jr/fA 


FARANDOLE 


Ji-ofe/tSdi 


LONG DANGE 


SwedisA 


FORLANE 


French. 


RING DANCE 


Sivcdi'sh 


TOURDION 


Old 3'raneh 


MAV PANCE 


^ermcift 


BOURREE 


3nnch 


Kl?AKOVIfNNE 


%hjh 


LA TAMBOURINE 


French 


RUSSIAN WAVE PANCf /emua^t 


FRICASSEE 


'^i-ench SoldLc-r ^olka^ 


SNOW STORM 


f SnJi'aHb'ha/ J /Russian 


NORMAN PANCE 


folk ^anca 


KHOROyOP 


/ Jhc Crane J /Russian 


WOODEN SHOfS 


■^uicK 


LUJOCK 


/?tijsicin- 


kVINPMlLL 


^iitdi 


KOLOMflKA 


Klljj lan 


OLD WEL5H 


Shnce. 


5TRASAK 


/jdheTrrian 


M0RRI5 DANCE 


Old Sn^hsl 


BABORAK 


f3ohe.m2an 


MAr POLE DANCE 


Sag lis A. 


CSZHBOOAR 


cJ/tin^Lirtarv 


?.\)i\\<i PANCE 


Old (fngl/sk 


SNAKE DANCE 


Jricimn' 


THE WHEEL 


CI (href 


i -far mtot ani) boys 


SCALP DANCE 


JndiaH' 



BKTHF SAME >1UTH0R 



'3a;-,ces C ■^ ^ j' Jdall -room JDa/-)ccs f^ -^ ^ . ) Oncf f^alleh ^ ^s^hehc 

■S ~ ^ J y>rocvi I'cn ila OjiJy 



and" C^asst^ca f '^a 



fhi Q>cAooi', 



BAB ORAR 

BOHEMIAN PEASANT 



arr. iy. 10 U/ J /Y. CHAl/f 




^^ 



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BOHEMIAN FOLK DANCE 



^C2 



^/7y niunier of couples Ca/i ^ociriacz/oa 

^// join /7c7/rc/s f'/r a. An/ye ctrc/e . 

/. _ S^ep /sff 7^? . ^o /V? . SicJe conn/ -^ . 5z<yi'ny /"/ - //'. ?'/' fra//f ay 

ff^. cnf. 2 J raise c>?7 /oc ^f^- /K C/// «5 . , , , , , , , . ... // f/rcoi 
/ 1^/> -Hup aioye c/escr/'ie<^ /y /k^ow7t as '' S^go Sio/r?^' ^ 

^^ec?/ f'/7£ sa777s ry7fA r/. f-oo/ ..,._,.-.--- ^ f 

/^i^pecif ^// ..,,,,,. , . ^ .6 " 

C . _ 9?7uYi: //^cr eire/c -^ Fcf/ Side yv?VA S S^e/^ Seeing s ^ ...... ^ " 

*5 . _ A-^eaf moyi'r)^ ^ 7/hii -^'t^/^/ loiih o Sfcp S2^7 7-7^s , - q >, 

^. - <ff. /??/ dmp /^ands and f'/7e Soyj f (P/' c/TOSd ■^ak/';7^ i'hi doj^s' ^arfs J 

more ^in'^e arounc^ 'voiir YOC7>"^77e7' 7/7 ^ e^'/'c/is ^ )V7/4 O S/ep Swi'r7j^S0- « 
(hold your hand 07 / f/7s di^ti j a/7d /(.>ck. c>n your yoa/'^Tiir ) 

ffiore aroii/Td -f/r: ^oys yY7y/z o orep Sl<s?'/->(^s j . . • -0 » 

f ^ia. y7'r/s Ao/d i/reir drstj-iss and /ooA c7/7 pari'nc./' J 

<S . - Jon7 ^o^h /7ci//dj ul f'h yc7z//- ,^*v/? yaarhTUT az-ad fin-yt ^zn'cA, 

orotend lai'M ^'yry Ay/Zc ^/j/'fhncjr s/-<^j ' . . . . o n 

<~//2e77 reoea/ ^?i2 <?// ^<n fi cc -f^^ym v^g7'7^ni'7i^ , 
'/•/./. /y . V. •/. v. •/. /. V. 'AY. '/. 



GREEK SOLO DANCE 
By L U (S H. C H A L (F 

OTHER GREEK AND (NTERPRETIUE DANCES BY THE SAME AUTHOR ARE 
LISTED BELOW. S ifi THEY CAN BE SECUJgEED ONLY FROM 

THE CHAIF NORMAL 
SCHOOL OF DANCCNG 

7 WEST 42ND STREET. NEW YORK 



Greek Maidens Playing Ball. Very effective 2 
Pompeian Flower Girls. Old Roman g. 2. 
Spirit of Spring. Greek Interpretive s. 3. 
Summer. Greek Interpretive s. 2. 
Autumn. Greek Interpretive s. 3. 
Winter. Greek Interpretive s. 2. 
Chopin's Waltz, C sharp minor. Int. s. 3. 
Valse Caprice (Rubinstein). Int. s. 3. 
Spring Song (Mendelssohn). Interp. s. 2. 
Chopin's Waltz in D flat. Interp. flower d. 
The Blue Danube Waltz. Interpretive s. or 
Hark, Hark, the Lark! (Schubert). In. s. 3. 



The Moon Dance. Oriental Interpretive ». or g. 2. 

Psyche. Interpretive s. or g. 2. 

Song of the Robin. Interp. s. or g. 1. 

The Song of the Robin. Interp. s. or g. 2. 

Blue Danube Waltz. Interp. s. or g. 3. 

Humoreske (Dvorak). Greek i. 3. 

Wind and Wave. Greek s. 3. 

Cymbal Dance. Greek s. or g. 3. 

Forest Spirits. Greek. For 12 young women. 2. 

Barcarolle from "Hoffmann." Greek $. 3. 

Moment Musical. Greek s. 2. 

Light and Darkness. Greek duet with pantomime. ^ 



Cleopatra's Dance. Oriental Int. s. or g. 2. 

SEE BACK COVER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF DANCES BY THE SAME AUTHOR 



Copyright. 1915. by Louis H. Challf 



Bacchanal. 



Piano, 



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BaccHanal. 6 



Bacchanal 

A GREEK SOLO DANCE 
Not very difficult, by 
LOUIS H. CHALIF 

(| The costume is Greek &- may be of any brilliant autumn colors Grapes are a good 
feature of the coiffure or costume. The dancer enters carrying a brass pitcher in the R hand 
and a brass goblet or cup in the L. Q The steps should be pushed forward, to cover much 
distance. In all skipping steps &■ polka steps the knees should be lifted forward sharply bent. 
Q The music is counted I, 2 to a measure, thus 4 counts means 2 meas, Q Technical terms 
are explained on the last page. Q Great relaxation is essential to freedom in this dance, which 
must be executed with the utmost wildness and abandon with the recklessness of )oy of one 
who has drunk of the fruit of the grape, &- the madness. 

^ I. ^ ^ 

This figure is danced in a circle. 

Enter from L rear corner of stage with the following steps: Slide hop forward on Rf (side to 
audience) (counts 1, 2), &■ 2 skipping steps in same diredion lifting the knees (L &- R; ds 3. 4). 
(A skipping step is hop step). On slide hop the arms are 3rd position with R arm straight 
up &- the head &■ trunk thrown far back. On the skipping steps the R arm is forward 6- L 
back, both at shoulder level, &- the trunk is bent forward 2 meas 

Repeat starting Lf but continuing in the same diredion 2 meas 

4 polka steps forward, starting the 1st with Rf- The arms are used in opp)osition, the L being 
extended forward '&■ R back) when the Rf begins the polka, & ■ vice versa 4 meas 



Bacchanal 2 
A polka step 'n rhis Jai-scc is as follov^/s Lift Kf Forward \A/ith knee sharply bent &■ hop on 
Lf (d ana), step k'( fc-ward (d !), steo Lf up to Rf (d and), step Rf ror\Aaip again (d 2) 
ti pause (d and) The polka is executed on the balls of the Feet fe- with great lightness 
2 polka steps (R &- L) rurntng once arou'id to R and at the fame time pn^gressing around the 
circie The arms are 3rd pos with R aim up on the 1st polka &■ the ieverse on rhe 2nd 
Thr trunk is bfnt fo L 4- back 6r tlie head looks toward the pucner cr> the ht polka ^vhile 
fhis pos. IS reversed fo' the 2nd polka ... 2 meas 

4 skipping steps starting Rf t?- *urning tv^^ice around to R at the same time proQ'-?^--.!ng around 
the circle The arms are 3rd pos vviih R arm up on rhe !st ':kipping itep L arm up on the 
ind, ^s- so ^-.i aliernaiely. tfiere being a change of the arms with each <^kipp(r,p ^tsp The 

!tunk bends to the L "whc". R arm is up &• vice versa ... 7 meas 

The dance* should now be in the L rear corner where the start v^as i^ade 

Repeat ali ' ,12 meas 

24 meas 

P II. i^ 

During ihe h: 16 neas of th's Fig. progress gradually to R Make a lorig . sttp Fony>/dfd on RF 
bending R knee (d I), £- hold (d 2) Extend the cup forward in L hand pretending to oFFer 
'antalizingiy a drink The R arm is extended backward a little below shoulder level I meas 

Step back on Lf slide Rf back. &■ step on Lf in place (d i and 2) 6- Face somewhat to R Bring the R 
arm up overh. then pretend to poiir wine into the cup, holding this forward at about shoulder level I meas 

Repeat all twice more 4 meas 



Bacchanal 3 
Turn once around to R with 2 polka steps. Hold the pitcher high in the R hand €r look at 

It while turning • 2 meas 

Repeat the 1st 2 meas again (offering &- pouring) 2 meas 

Repeat the 2 polka steps turning to R 2 meas 

Repeat the 1st 2 meas twice more .... 4 meas 

The dancer should now be at R back corner of stage 

RejDeat Fig. 1 from the 5th through the 12th meas, dancing forward across the front of stage 

&- finishing center , 8 meas 

24 meas 

The Drink 

With joyous anticipation the dancer regards the pitcher, with this adion. Take many little 
steps on the toes to R, keeping the feet crossed, Rf in front (7 dts), €r finish on Rf with 
Lf behind (d 8). Start with the pitcher held quite low in front &- the trunk bending some^ 
what forward; while moving sideways gradually lift the pitcher sidevA/ard &- upward until 
it is high overhead, at the same time gradually lifting the trunk £r finishing with it bent 
back &- to L.. The eyes, full of anticipation, are kept always on the pitcher. The L arm 

remains in 2nd pos a^ • u^ ^ meas 

Repeat same to L, looking at the cup : . . . 4 meas 

Pouring the drink. Step on Rf &- hold, slowly raising Lf high across in front with knee 
sharply bent, while slowly bending at the waist to L just as much as possible. (See 
diagram.) When first stepping on Rf extend both arms sideward (2nd pos. ); then keep 
the L hand (holding the cup) there &■ lift the R hand (with pitcher) slowly up over the 




head £r down tc vA^ithin a few inches of the cup, pretending to pour. The hands are 
above, or beyond, the head. &■ also much to the L on account of the sideward bending 
of the trunk. Take this wild &■ fantastic atntude with the ultnost )oy &■ abandon. &■ yet 
slowly. With a sense of power, taking 8 ds to build 6- hold the altitude. If possible rise 
on the ball of Rf on the 7th or 8th d 4 meas 

Step forward on Lf extend the cup forward at shoulder level & look rapturously at it, 
at the same time letting the pitcher fall unheeded from the R hand. Take the cup with 
boih hands ^ drink gradually bending far back to drain every drop On about the llth 
d thro\A/ the cup a little distance &w&y to fl, then turn slowly once around to R in a 
langorous ecstasy, completing 16 ds 8 meas 

Suddenly the fire of the wine pervades the dancer Slide hop on Rf throwing both arms 
diag rcrward &■ upward C2 ds), 2 skipping steps in place (L 6- R, bending far for\A/ard 
fe- clapping the hands lightly over the head '12 ds). Be sure that the clapping is a free 
&- relaxed movement with elbows well lifted 2 meas 

Repeat twice more 4 meas 

26 meas 

PANTOMIME 

The music is here best counted slowly, I d to a meas. The dramatic adion need not be accurately 
described &■ must be largely the expression of the individual dancer's feeling. Revealing in the taste, 
the dancer sways to the pulsation of the music At one moment she comes into an attitude 
s:anding on Rf with R arm bent closely over the head &- partially covering the face, the head 
6- trunk thrown back. Later, happening to turn toward the l^- she perceives the cup, then 
points toward it with L hand von d 7 or 8) g rneas 

She runs to the cup, thinking that some wine may be still left in it, picks it up, looks at it 
holding It in both hands, sees that it is empty, shakes her head sadly in disappointment 6- throws 
It away again . 8 meas 



B.>cchanal 5 
As she ihrcvvs it away (to L) she naturcJly tui-ns a^vav frorri it to R fc- har-pen;. to see tne 

pitchtrT. With an access of hope she runs to irv: p'rcher hoping that a Few drops may be 

left, picks ii up with both hands d'-,i«ks 'Vom it ov bending far back' then dropb it again 

bending forward slightly, for she feels another rush of madness ccrrtng on .10 mpas 

26 meas 

Dance in a circle, starting to L ^ forward, with Slide hop on Rf turning partially to 
R extending R arm upward, with L. arm ar shoulder level &- bending head &■ trunk 
far back 1 meas 

Complete fhe turn to R by 2 skipping steps (L €r R) bending forward ^ clapping the 
hands lightly overhead i ipeas 

Repeat iil! startir.g L.f but turn-ng to R as before 2 meas 

4 polka steps stanjug Rf. turning iwice around to R ^ progressing arovind rhe large 
circle The arms are in 3rd pes changing (o- the trunk bending) from side to side, the 
R arm being up first and the trunk bent to L 4 meas 

2 polka steps {R &• L.) forward around the circle, with R arm forward &- L back on 
each step 2 meat 

4 skipping steps forv/ard, starting Rf The arms are 3rd to 3rd pos; R arm up 1st 6- 
the funk bending from side, L 1st Finish at L rear corner of stage 2 meas 

Repeat all finishing at center of stage 12 meas 

24 meas 

^ u. ^ 

1 his Fig. IS danced with great excitement 

4 poika Steps forward, starting Rf The arms are 3rd pos from side to ?ide L up 1st 4 meas 

8 skipping steps backward lifting the knee well forward The arms wave from, the shoulders 



Bacchanal 6 
in rime to the music: they are at first somewhat forward, &■ move gradually to be finally 

stretched backward. The trunk, from being almost erect, gradually bends forward 4 meas 

Repeat all 8 meas 

2 polka steps forward (R €r L) : ....'. 2 meas 

Turn in place to R as many times around as possible, with many little steps on the toes. 

The arms are overhead, &- change slightly from 1 pos. to another; the head &■ trunk are 

thrown back (6 ds) . On the 7th ct stop abruptly, facing R on Rf, \A/ith R arm thrown 

up 6- L arm on chest, or in any other position which the arms take naturally. The head 

£r trunk are bent back. Or, the best ending, but a dangerous one for the amateur, is to 

fall dn the 7th ct 4 meas 

22 meas 

EXPLANATION OF TERMS 



1st Position : The arms make a circle in front of the chest at the level of the middle of the chest 

2nd Position : The arms are raised sideways a little belov^' shoulder level. 

3rd Position : The K arm makes a half'circle over &■ in front of the head &- the L is in 2nd pos. 

Reverse for " L arm in 3rd pos-" 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position : The K arm makes a half- circle over &- in front of the head &■ the L is in 1st pos 

Reverse as above. 
5th Position : Both arms make a circle over &- in front of head. 
Lateral Positions have one arm in 2nd pos. &- the other in 1st. 

Step Swing means step on one ft, swing the other ft. forv^/ard &- at the same time hop on the 1st ft. 
Step or Slide Hop is to step on one ft &- then hop on it lifting the other ft backward. 
Slide Step Step Hop demands that the free ft be lifted backward. 
Slide Step Step Swing demands that the free ft be lifted forward. 



M 




DANCES BY LOUIS H. cHALiF. '^::j^r:z:z£<C^:^^^^ ^ 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



NATIONAL. $3 Each. 
l^irlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2, 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 

t'ueen of Swords. Minuet, 12 or 8 cpls. 2. 
word Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csard&s. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
The Sun, or Earth's Av^akening. Pan- 

-omime ballet. $10. 
In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note; — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. .-Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance, Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snowr Storm ( Myatelitza). Russian. 1. 
Khorqvod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance, Amer. Indian. 1, 

50c. Each 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh, 2. 
The Graces, 2. 
Harvest Home, 2 
Hewett's Fancy^ 1. 
Hull's Victory. 



Money Musk. 2. 
Off She Goes, 2. 
Petronella. 2. 
Pop Goes the 

Weasel, 2. 
Portland Fancy, 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring, 2. 
The Tempest 

(LaTempete).l. 



Windsor Terrace, 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3, 

Psyche. Interpretive s or g 2, 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann," Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark !( Schubert) . In. s 3. 

L'Automne (Bacchanal), d 3, 

Blue Danube Waltz, Interp, s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER, $3 Each, 
Le Toreador d'Andalousie. s or g 4, 
The Gipsy Camp, Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette, French d 2. 
The Joy of the Rose. Pierrot pant, c 2. 
Columbine, French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia, Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1, 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3, 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 

Allegretto, s or g 2. $2. 

The Blue Bird, s or g 4. $3. 

Bluette Polka, s or g 3, $3. 

Esthetic Waltz, s or g 2. $2. 

Eugenie Onyegin. Waltz s or g 3, $3. 

The Fairy (jueen. s or g 2. $3. 

Fireflies, s .jr g 2. $2. 

The Golden Butterfly, s or g 4, $3. 

Little Fairy Snowflake. s. or g. 1. $2. 

Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3, 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2, 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3, 

BALLROOM, 

Music and Description, %1. 

Furlana. 2. I Minuet Walti. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Walt*. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published bv the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock a' 
prices from 25 cents ud, 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best te»ch- 
ers. 171 pp., ill., price postpaid, $2,50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. .An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAL SCHOOL OF DANCING 



IT IS located in New York City, at 7 West 42nd Street, and leaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come irt-. a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

ims is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quix? all of its spirit and scope have 
been retained. The result is an art wtiich while allowing; an amateur 
to make rapid progress is yet authentic, b.'autiful, utterly ciptivatine 
to the student, and furthermore bringing health, kno vled?e of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a comoletely equipped teacher of Chalif and 
-. i??,llxoprn.da_ncjng^,_an exh-bition dancer^and a composer of dances. 



A Few 'Morels 
Concerning It 

2nd: L. H, CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student :r_ t'.-.c Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment, 

4tn: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Ch::l!f School. Everywhere there is a deman''. for 
tW real dc.ncing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
r-'sses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
I of any of these, or of our dancing teachers' shoe and supply house, 
I will be sent with pleasure, on application. 



LA BALLERINA 

A SIMPLE DANCE FOR SOLO OR GROUP 

By LOUIS H. CHALIF 

PRICE ONE DOLLAR 

OTHER SIMPLE COUPLE DANCES. WITH THE SAME AUTHORSHIP & PRICE. 
ARE LISTED BELOW. MUSIC & DESCRIPTION ARE INCLUDED. UNLESS OTHER- 
WISE STATED. THE NUMERALS INDICATE PROGRESSIVE DEGREES OF 
DIFFICULTY. ifi \R THE DANCES CAN BE PROCURED ONLY FROM 

THE CHALIF NORMAL 
SCHOOL OF DANCING 

7 WEST 42nd STREET. NEW YORK CITY 

Galanterie Schottische 2 Abandon Mazurka SeWes 3 

Sunbeams Poika Series 2 SvlvJa Waltz 3 

The Princess Schottische 2 Gavotte Waltz 2 

Ta-tao Chinese 3 Mazup Waltz 3 

Flower Waltz Series 3 ROUli-ROUli Exhib, Blr. 2 

The Countess Gavotte 2 Gavotte DIrectoire Paviowas 3 

Minuet Waltz 2 

SEE BACK COUER FOR OTHER DANCES BY THE SAME AUTHOR 

COPYRIGHT 1915 BY LOUIS H. CHALIF 



lia Salleitina. 



Con grazia. 



Arranged by- 
Louis H. Chalif. 



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La Ballerina. 8 



La Ballerina 

A SIMPLE DANCE FOR SOLO OR GROUP. 
Imitating a Toe Dance; 

by 
LOUIS H. CHALIF 

Q The traditional ballet costume of tarlatan should be worn. <3[ The dance should be rendered 
with the daintiness &■ all the little airs &■ graces that are associated in our minds with toe dancing. 
Q It has been necessary in sorne respects to depart from toe dancing formulas e. g. sometimes to 
give liveliness hopping where a toe dancer would staind still on one toe. Q Be sure that the toes 
&- knees be always well turned out. Q The music is counted 1, 2 to a measure; when 4 counts 
are named a 2nd meas. is included. 

m I. m 

Both hands hold skirt throughout this Figure. 

On d and, just before starting to dance. Raise Rf foward with knee somewhat bent, &- turned out, 
then straighten the leg out forward. Step forward on Rf fe- hop, lifting Lf quite close to the back 
of K knee, with L knee turned out (d I, 2) , 1 meas 

Step back on Lf 6- hop lifting Kf forward in the manner of the preparation for the 1st step 
(in detail: lift the Pvf with knee bent & turned out on d 2, 6- straighten the leg out forward on d 
and ) (d L 2) I meas 

4 little steps on the toes, starting Rf 6- moving to R side, always keeping Rf in front (d 1 and 
2 and) , I meas 

Step P>f to side (d 1) 6- point Lf to L side, bending at waist to L to look at L toe, 
€r curving the L arm forward toward 1st pos I meas 

Kepeat all 3 times more, starting L, R &• L ft 12 meas 

16 meas 



La Ballerina 2 

m n. m 

The R hand holds the skirt &- the L is in 5th pos. throughout this Fig, 
Moving diag. forward to R take 3 little steps thus: Step Rf forward (d 1), step Lf behind 
Rf (dand) &- step Rf forward again at the same time lifting the Lf behind the R knee (d 2).. I meas 
Step on Lf bshind Kf (d I) &- hop on Lf extending Kf forward in the manner de- 
scribed in Fig. I. (d 2) 1 meas 

Repeat all 3 times more, in same diredion &■ always starting Rf 6 mea s 

8 meas 

' ^ III. ^ 

In this Fig. move diag. back to L. 

4 little steps backward starting Kf £r keeping Rf always in front of Lf (d I and 2 and), 
the R hand holding skirt &■ L arm in 5th pos I meais 

Step on Rf in front of Lf, lifting Lf close behind R knee (d I) &- step on Lf lifting Rf close 
in front of L knee (d 2). The arms are 5th &- 2nd pos 1 meas 

Repeat ail 3 times more, in same diredion &- always starting Rf 6 mea^ 

8 meas 

n lu. m 

3 slow steps to R, starting Rf (d I. 2, 3). Take the last step as if falling onto Rf, i. e. bend 
R knee &• place Lf behind K leg about calf-high, bend at the waist to L, &- swing the arms 

to Lateral pos. on Pv side; hold (d 4) 2 meas 

Kepeat starting Lf ^ meas 

Run in a little circle starting to K &■ back, with 16 little steps on the toes (2 steps to a d). 
keeping Rf always in front &- the feet crossed £r near together. The trunk £r head are bent 
all the time to L 6- back, the fingers of both hands are placed ' lightly together in a pos. like 

that of praying, the hands are very near to R cheek, &- the elbows are well lifted 4j_rneas 

8 meas 

^ u. ^ 

2 polka steps diag. forward R, starting Rf. Both hands hold skirt 2 meag 

(A polka step here is: lift Kf forward as described in Fig. I. (prep.), step Kf forward (d 1), 
step Lf behind Rf (d and), step Rf forward again (d 2) ^ extend Lf (prep.— d and) ) 
Step forward on Rf ^ hop lifting Lf behind (d I, 2), with arms lifted diag. forward £r 
sideward at shoulder level, palms up ,,....,< - .1 meas 



La Ballerina 3 
2 steps backwaird (L &- K; d I, 2), or else many little steps backward on the toes. Push the 
skirts back with both hands extended down fe- then back, &- bend forward at the waist. ... I meas 

Repeat all 3 times more, starting to L, R &- L 12 meas 

16 meats 

e ui. ii 

Move backward imitating echappes thus: jump lightly onto both feet, turning to face R 
(d 1) &- hop on Lf turning to face forward &- lifting Lf in front of R knee with L 

knee turned out sideways (d 2) ;....... 1 meas 

Repeat , same to L steuting by facing to L 1 meas 

Repeat these 2 meas 2 U2 times more 5 meas 

During ail the foregoing both hainds hold skirt. 

Step forward on Lf (<3t I) &■ pause (d 2), with arms 3rd pos. R up ....I meas 

Dance in a little circle to R with 12 little steps on the toes, starting Rf &- keeping Kf 
always in front of Lf. The arms are 3rd pos. R up 3 meas 

Moving diag. forward B^. Step on Rf (d I), step on Lf (d 2), kneel on R knee (d 3) 
with arms 3rd pos. amp. R up, palm down, trunk bent forward &- to L &■ head bent 
to L but looking to R under R arm; hold (d 4) 2 meas 



13 



POSITIONS OF THE ARMS 



1st Posiiion ; 1 he arms make a circle in front of the chest at the level of the middle of the chest 

2nd Position : The arms are raised sideways a little below shoulder level. 

3rd Position : The Ps, arm makes a half'circle over dr in front of the head &- the L is in 2nd pos. 

Reverse for " L asm in 3rd pes." 
3rd Position Amplified is the same, except that the raised arm is less curved 
4th Position : The Pv arm makes a half'circle over &- in front of the head &- the L is in 1st pos. 

Reverse as above. 
5th Position : Both arms make a circle over &■ in front of head 
Lateral Positions have one arm in 2nd pos. &- the other in 1st 
O o 



r A 






D'ANCES BY LOUIS 



sals only by Louis H. Chalif, is 
and arranged, and a complete 



I'm fciiiovving lis^: ot dances comnosed o.' 
arranged, copyrighted, published and for 
complete to date. Each number consists of classical music, carefully chosen 
and accurate description of the steps, arm-movements, etc., of the dance. 



ABSREViATlONS 
1 — Easy. 

2— 0( a little diffioult/, 
3— Ratlior difficulL 
4— Difficult, 
d— Duet dano*. 
g — Group dance 
s— Solo danoe. 



NATIONAL. $3 Each. 
l'"urlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
TyroUenne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilefia. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. .$1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2, 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples, $5. 2. 
Queen of Swords. Minuet. 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka: d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

■\ Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 

BALLET. 
La Fete de Jardinier. Pantomime and 

six dances, $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pan- 

•omime ballet. $10. 
in Cleopatra's Court. Panto ballet. $10. 



FOLK. 

Note:— The nun 
■oik ami Contra da 



$1 Each. 

L-rals used with the 
ices denote much 
easier erades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3, 
Farandole. Provengal, 1, 
Tourdion. Old French. 2. 
Bourree. Old French, 2, 
Le Tambourin, Old French, 2, 
Forlane. (lid French, 
Fricassee, f )M Fr. Soldier Polka. 2. 
Norman Folk Dance, Old. 2. 
Wooden Shoes. Dutch, 2, ' 

Windmill. Dutch, 3, 
Rustic Dance. Old English, 1. 
Morris Dance. English, 1, 
Maypole Dance. English, 1, 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys, 2, 
Old Welsh Dance. 2, 
Highland Schottische. 2. 
Irish Lilt. 2, 

Long Dance. Swedish, 1, 
Ring Dance. Swedish, 1, 
First of May. Sw, 50c, w, folk song. 1, 
Mountain Trio Dance. Norwegian, 2, 
May Dance. German, 1, 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1, 
Cracovienne. Polish, 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza), Russian, 1, 
Khorovod (The Crane). Russian. 1, 
Lujock. Russian, L 
Troika. Russian, 2, 
Kolomeika, Russian, 2, 
Strasak. Bohemian, 3, 
Baborak, Bohemian. 2, 
Ritka. Hungarian, 3, 
Csehbogar. Hungarian, 1. 
Bulgarian Folk Dance. 1, 
Snake Dance. Amer, Indian, 1, 
Scalp Dance. Amer, Indian. 1, 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1, 
Flowers of 

Edinburgh. 2, 
The Graces. 2, 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2, 
Windsor 



50c, Each, 
Money Musk. 2, 
Off She Goes. 2, 
Petronella. 2, 
Pop Goes the 

Weasel. 2, 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2, 
Three-Hand 

Ring. 2, 
The Tempest 

(LaTempete),!, 



GREEK AND INTERPRETIVE. 

$3 Each, 
Wind and Wave. Greek s 3, 
Psyche. Interpretive s or g 2. 
Forest Spirits. Grk, 12 yg, women. 2, 
Pompeian Flower Girls. Old Roman g 2. 
Greek Maidens Playing Ball. Simple 



!Ul 



Cymbal Dance. Greek s or g 3, 
Spirit of Spring. Grk, Interpretiv( 
Summer. Greek Interpretive s 2, 
Autumn. Greek Interpretive s 3, 
Winter. Greek Interpretive s 2. 
The Moon Dance. Oriental Inte 



rpr 



Cleopatra's Dance. Oriental Int. s or g 2. 
Moment Musical (Schubert). Grk. s 2, 
Barcarolle from "Hoffmann." Grk, s 3, 
Spring Song (Mendelssohn), Interp. s 2, 
Hark, Hark, the Lark!(Schubert), In,s 3. 
L'Automne (^Bacchanal), d 3, 
Blue Danube Waltz. Interp, s or g 3, 
Song of the Robin. Interp, s or g 1, 
Chopin's Waltz, C sharp minor, Int, s 3, 
Chopin's Waltz in D flat, Int, flower d, 
Valse Caprice (Rubinstein). Int, s 3. 
Humoreske (Dvoi^ak), Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each, 
Le Toreador d'Andalousie. s or g 4, 
The Gipsy Camp. Span, tamb. s or g 3 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2, 
The Joy of the Rose. Pierrot pant, c 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. . Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3, 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto, 2, 
Russian Court Dance, d 2, 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2, 1. 
America. 6 characteristic dances, from 

Indian times to the present, 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w, pant, 2, 



ESTHETIC. 
Allegretto, s or g 2. $2, 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3, $J. 
Esthetic Waltz. ^ a or g 2, $2. 
Eugenie Onyegin. Waltz s or e 3. fS, 
The Fairy Queen, s or g 2, |3. 
Fireflies, s or g 2, $2, 
The Golden Butterfly, s or g 4, $3. 
Little Fairy Snowflake. s, or g, 1, $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. I, ?3, 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2, $2. 
Papillons d'Amour. Waltz time g 3, f3. 
Petite Coquette, s or g 1, $2. 
Pizzicato, s (or g) fr, "Sylvia," 2, fZ 
Polka Miniature, s or g 2, $3, 
Poppies, s or g 1, $2, 
Three Fair Maids, s or g 3, $3. 
Valse Brillante. s or £ 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2, I Minuet Walta. 1, 

La Russe. 1. Sylvia Waltr. 2, 

The Countess. 2, I Gavotte W«lli. 1. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their moll 
beautiful, modest, teachable and itand- 
ard form, are published bv the school, 
at $,50 and up, 

MUSIC for the newest ballroon 
dances, in the pieces most approved bj 
us and the public, is carried in itock |l 
prices from 25 cents ud, 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol, I, The stand-.rd positions and tht 
fundamental exercises. These art de- 
scribed to the iriinutest detail, so thai 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers, 171 pp., ill., price postpai.d, ^.50. 
Music for the Classical Exercisea loi 
Technique, as described in the Texl 
Book, and including all used in thi 
Chalif School. Third edition: a net 
collection of 47 beautiful pieces, unusct 
hitherto; engraved. Postpaid, $3,05. 
Grammar of the Art of Dancing, kj 
Friedrich A, Zorn, An important worl 
to the profession. With music^ sap 
plement. express paid, $10. 



THE CM/ki-^iF NORMAL 5CHOOC OF 

IT IS locaied in Ne.v York City, at 7 West 42nd Street, and leaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training, jts work wit'i 
these classes has met with tremendous success. "Chalif dancinn;" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

xms IS the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
5tage detail have been treated as separate branches, but almost all 
the beauty of the original, and quit" all of its spirit and scope have 
been retained. The result is an art wtiich while allowing an amateur 
to make rapid progress is yet authentic, b.-^autiful, utterly captivatine 
to the student, and furthermore bringing health, kno'vled?e of racial 
character, alertness, grace, and a soul-deep development e?thetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it w-th the most ort-^tanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equal! ' important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught t-^ teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is " comnletely equipped teacher of Chalif and j 



A Few MTordt 
Concerningf It 

2nd: L, H, C H A L I F 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in t'.e Imperial Ballet School of Russia, in 
r.Coscov/, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading Niw 
York private schools and director of the Chalif Normal School, hit 
experience has been long, com'plete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has bam 
found that the students will listen to no one else while the principal 
is on the floor. 

3.-J: LOCATION 

The position of the school in the uptown transportation centet 
of New York, "the most popular summer resort in the country," hai 
helped its enrollment. 

4tn: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cauit 
for the fame c' tie Chrl.f School. Everywhere there is a deman'^ fd 
tL< real dancing, and here one can be trained to teach it, 

COURSES 
Each year during June and July there is a normal school witl 
c--3Ees all day, both in the regular Chalif and Ballroom work and il 
Pantom,ime, festival ballets. Toe-dancing, etc. And similar session! 
are he!d during a fortnight of the Chris'mas holidays and en Satui 
days and i,om.e week-day afternoons throughout the winter. C'>talo| 
ot any of these, or of our dancing teachers' shoe and supply hou* 
will he sent with pleasure, on application. 



BARCAROLLE 

FROM "TALES OF HOFFMAN" whth 

Greek Solo Dance 
By LOUIS H. CHALIF 

other Greek and Interpretive dances by the same author are listed below, and 
described on the back cover. The price of each is S3. They can be procured 
N L VF R n 

The CHf^LIF NORMAL 
SCHOOL of Of)NCING 

7 WEST 42ND STREET.. NEW YORK 

Wind and wave. Autumn.. 

Cymbal Dance. Humoreske. 

Forest Spirits. The Moon Dance. 

Greek Maidens Playine Ball. Moment Musical. 

Spirit of Spring. Barcarolle. 

Copyright. 191^. by Louis H. Chalif 



BARCAROLLE 



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The 

BARCAROLLE 



A GREEK SOLO DANCE. OF MEDIUM DIFFiCULTY 

by 
LOUIS H. CH^OF 



A dreamy and langorous manner and a floating quality of movement should characterize this dance. 
It shou'd have in it the gentle rocking of a gondola slipping through the waterways of Venice on a 
summer night, when a light bieeze is blowing. Tt s'^.ould have a subtle life and buQyancy--shou.ld 
be quiet, but not somnolent. 

In the following description of the Dance, the wirds in bold-faced type afford a brief description- 
of each step. 

Enter from back L corner of stage. Before the music starts stand on 1 f, side to the audience, 
R f pointed forward, CSt, with arms a little below shoulder level (2d pos'. 

Introduction. SWAY FORWARD onto R f (counts 1. 2, 3) & BACK onto L f (cts 4, 5, 6). 
(1 meas). REPEAT same. Arms wave slowly 4 times in time to the music The wave movement 
begins at the shoulders..- 2 meas. 



Dance in a CIRCLE around the stage starting across back of stage, then down center, finishing near 
the front. The ste^ s are: 

SLIDE FORWARD on R f & hop raising L f behind fcts I, 2, 3), STEP BACK on L f & hop 

raising R f a few inches from the floor Ccts 4, 5, 6). Extend L arm forward above level of head 
CEi extend R arm back, centinuing line of L. arm. Take this position as if waving the arms (cts 
1, 2, 3) & wave arms very slightly again in same position (cts 4, 5, 6). Look over the shoulder 
toward the audience. _ 1 meas. 

STEP R f forward (cts 1. 2). STEP L f forward (cts 3), STEP R f forward again cts 4, 5) 
& hop Irfting L f benind (cts 6). Arms are same pos. as in previous mess. CBi wave slightly in 
time to the music 1 meas. 

REPEAT these 2 meas. J TIMES MORE in a circle starting L & R f alternately. Before begin- 

ing 3rd meas. change arms slowly to reverse of pos. described in 1st meas 14 " 

16 " 



11. 

SLIDE STEP STEP HOP to R SIDE starting R f. Finish on R f in the following arabesque: 
L f is raised behind, body faces R but head looks toward audience over L shoulder. Left arm is 
extended across in front of chest as high as the head, R arm is shoulder high & back as far as 
possible so as to be seen on the L side ^ 1 meas. 

MOUE TO L SIDE & TURN once around with STEP HOP TWICE (L & R), each time raising 
the free ft behind. The arms for the 1st step hop are in a circle overhead (5th pos.) CS. for the 2nd 
step hop they are diag, upward ^ back as far as possible CSb head is throwm back £& chest raised. 

1 meas. 

REPEiftT dLL 3 TfMES MORE starting L, R ca, Laltematelr-.- 6jneas. 

8 measi. 

«(. 

STEP R f diag. forward & SWING L f in front, hopping on R f, STEP L f across m front of R f CS, 
hop lifting R f behind. Arms are 3rd pos. on cts 1, 2, 3 (i. e., R hand is overhead (^ L hand should- 
er level) & 5th pos. (circle overhead) on cts 4, 5, 6 1 meas. 

Move to L side in a BfiCKlMARD SEMICIRCLE with the following steps: Turn to R (outward 
turn;, start with R f ^ dance in the semicircle with SLIDE STEP STEP & HOP raising L f behind, 
cv^rms go down to 2nd pos. < shoulder level at sides) ca. then to 3rd pos. with L hand up 1 meas.^ 

REPEUT ALL starting with L f diag. forward to L 2 measr., 

cTWove diag. forward with STEP SWING & STEP HOP. starting R fas in the 1st meas. of this- 
figure. Keep the arms in 3rd pos. with R hand up, but turn the palms down. The music should 

slow up for this meas. ..1 meas: 

5 meas. 

lU. 

Moving to L side, 

STEP R f across BEHIND l f (cts 1,2), STEP l f to l SIDE ( ct 3 ), STEP R f across IN FRONT 

of L f (cts 4, 5), & hop on R f lifting L f behind (ct 6). Arms move slowly from 3rd pos. with R 
hand up (the pos. at end of previous figure ;* to 3rd pos. with L hand up 1 meas. 

REPEAT same starting Lcft ft back f& moving to R side 1 meas. 

MOVING to L SIDE 4 changing GLISSADES starting R f back. Take longer steps than in the 
standard glissades. In detail this is: Step R f behind (cts 1, 2), step Lf to side (ct 3), step R f 
across in front (cts 4, 5), & step L f to side (ct 6 ), Repeat these 6 cts but finish with a hop on R i 
lifting L f behind (ct 6). Arms move in 3rd pos. changing from .side to side, the R arm being up on 
cts 1, 2, 3 iS!,the Larm up on cts 4, 5, 6 of each meas • 2 meas. 

REPEAT from the begining of IV. starting step L fback ^ meas. 

8 meas. 



This figure is danced in a large CIRCLE starting toward the R side of stage iBt then going back. The 
steps are: 

3 RUNNING STEPS (cts l. 2, 3), starting R f, then SLIDE HOP on L f lifting R f behind (cts 4, 
5, 6), TURN completely around to the R WITH SLIDE HOP TWICE (R & D, each time lifting 
the free ft behind (1 meas.). Arms are 3rd pos. with R arm up for the first meas. CBl. 2nd pos. & 5th 
pos. for the 2nd meas ,.. ,. 2 meas. 



REPEAT same 3 TIMES MORE always starting R f. 



.6 meas. 
8 meas. 



01. 



STEP on R f ca, SWING L f across in front, STEP L f across in front £81, HOP lifting R f behind 

1 meas. 

Moving to L side STEP R f BACK (cts. 1,2), STEP L f TO SIDE (ct 3}, STEP R t across IN 

FRONT (cts. 4, 5), ca, hop on R f (ct 6) 1 meas. 

During these 2 meas. the arms wave very slightly from the shoulders. They are 3rd pos. with R arm 

up when L f steps across in front ( 1st meas) & in 2nd pos. for the rest of the time. 



REPEAT the 2 meas. starting L f. 2 meas. 



Dance in a small circle around to R with batck to center of circle, with the foUowring steps: Step R f 
to side, step L f behind, step Rf to side (paS dC BOUrree Chailge) (cts 1, 2, 3), SLIDE 

HOP on L f across in front of R f (cts 4, 5, 6). The 3 steps are very short £& lead up to the slide hop 
on L f which is the accented part of the combination. The arms naove to 3rd pos. with L arm up on 
cts 1, 2, 3, & change to 3rd pos. with R arm up on cts 4, 5, 6. They move from side to side wi'"h a 
waving motion 1 meas. 

REPEAT this raeas. 3 TIMES MORE, completing the circle & finishing in original pos 3 meas. 

RUN with many little steps in a very SMALL CIRCLE to the R. Arms in 3rd pos 2 meas. 



Stand on R f with L f pointed tackward & arms raised forward upward overhead with the hands 
crosed & palms turned in. Take this attitude on the 1st ct. Slide L f back and sink grpdually 
down onto L knee and then sit on L f, leaving R f extended forward, this movement having been 
slow and continuous. While KNEELING the arms move slowly down until in front of the chest, 
then open slowly out to side and down, finishing with the hands a few inches above the Bmt, 
palms down. The trunk and head bend forward only. The gradual taking of this attitude should 

be completed exactly on the last note of the music 3 meas. 

13 meas. 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed or 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2— Of a little diiSculty. 

3— Rather difficult. 

1 — Difficult. 

d — Duet dance. 

g — Group dance. 

t— Solo dance. 



NATIONAL. $3 Each. 
Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. , 

Tarantella. Neapolitan s. or g. 2. ' 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only. Andalusian s. 3. 50c. 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 
Tvrolienne. .Austrian Peasant d. or g. 2. 
Polska. Swedish d, or g. 2. 
Polonaise. Music only. 50c. g. 1. 
Krakowiak. By Glinka: d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 
Kasatchok. Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g, 3. 
Csardas. s or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 
Saibara. Japanese s. or. g. 1. 

GREEK. AND INTERPRETIVE. $3 Each. 
Wind .^nd Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits, (ireek. For 12 young women. 
Greek Maidens Playing Ball. Very effective. 2. i 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. OricUil Interpretive s. or g 

BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
Description only, SOc. 

One-Step. 1 



the 



Aeroplane Glide. 
Dream Waltz. 3. 
Hesitation Waltz 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2, 
Northamton Glide. 2, 



La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12pp., $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples. 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 

La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable. 

for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 



FOLK. $1 Each. 



Note: — The numerals used with 
denote much easier grades than 
categories. 

Manchegas. Spanish. 3, 
Zorongo. Sjranish. 3. 
Farandole. l-rovengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Mcrris Dance. English. 1. 
Maypole Dance. English, 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel, Athletic, for men or boys. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2, 

Long Dance. Swedish, 1. 
Ring Dance. Swedish, 1. 
First of May. Swedish. 50c. With folk ; 
May Ds:nce. German. 1. 
Weftphalian Peasant Dance. 2. 
Cracovienne. Polish. 2. 
Gorjisiiy TEr.iec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian, 1, 
Snov; Seorm i Miatelitza). Russian. 1. 
Khorovod (The Crane). Russia". 1. 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgrri?n Folk Dance. 1. 
Snake Dance. Amer. Indian. 1 
Scalp DiTce, .\nier. Indian. 1. 



these dance 
in the othe 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 
Bluette Polka, s. or g. 3. $3. 
Esthetic Waltz. Music only. s. or g. 



SOc. 



Eugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s, or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 

Polka Miniature, s. or g, 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3.. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s. or g. 3. 

r.'iarysia. Polish s, or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

,tapanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 

CONTRA. SOc. Each 

Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tern- 



Arkansas Traveler. 2, 
Beaux of Oak Hill. ; 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



ete). 1. 
Three Hand Ring. 
Windsor Terrace. 



EXERCISES. 
• The Classical Exercises for Technique. 

.An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00, 



THE CHALIF NORMAL SCHOOL OF DANCING ^ ^''^ ^"'"^ 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work wit'i 
these classes has met with tremendous success. "Chalif dancing" and 
the bchool which radiates it have come into a North .'* ^prican repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted rrid simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowing- an amateur 
to make rapid progress is yet authentic, beautiful, utterly c^iptivatine 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding sur^^-s, 
especially in three particulars. First, the use of the /'/■')/'■ and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
,nlthou?h it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



BAVARIAN 
FOLK DANCE 

Arr, by 

LOUIS H. CHALIF 

Other original arrangements of Folk dances by Mr. Chalif are listed 
below. Their price is One Dollar each, and they can be procured only from 

The CHALIF NORMAL 
SCHOOL of DANCING 



7 WEST 42nd STREET 



NEW YORK 



Manchtgas. Spanish. 3. 

Zorongo. Spanish. 3. 

Farandole. Provencal. 1. 

Tourdion. Old French. 2. 

Bourree. Old French. 3. 

Le Tambourin. Old French. 2. 

Forlane. Old French. 2. 

Fricasse*. Old Fr. Soldier Polka. 2. 

Norman Folk Dance. Old. 2. 

Wooden Shoes. Dutch. 2. 

Windmill. Dutch. 3. 

Rnstic Dance. Old English. 1. 

Morris Dance. English. 1. 

Maypole Dance. English. 1. 

Thanksgiving or Festival Dance. 2. 

The Wheel. Athletic; men or boys. 2. 

Old Welsh Dance. 2. 

Highland Schottische. 2. 

Irish Lilt. 2. 

Long Dance. Swedish. 1. 

Scalp Dance. 



King Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westi^alian Peasant Dance. 2. 
Craeovienne. Polish. 2. 
G6ral8ki Tanie£. Polish. 1. 
Russian Wave Dance. 1. 
Troika. Russian. 2. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1. 
KhoroTod (.The Crane). Russian. 1. 
Lojock. Russian. 1. 
Kolomeika. Russian. 2. 
StraS&k. Bohemian. 3. 
BaborSk. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbog&r. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Amer. Indian. 1. 



SEE BACK COVER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF OTHER DANCES BY THE SAME AUTHOR 



Copyright, 19lC by Louis H. Chalif 



Bavarian Folk Dance 

Arr. by LOUIS H. CHALIF. 



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BAVARIAN FOLK DANCE 

Arrangement by 
vLOUIS H. CHALIF 

This dance is performed in a ponderous manner, but with a swing, such as the Germans put into the 
waltz rhythip which they love. ^ Any number of couples may take part. The formation is in couples 
in a large circle. 

I. 

Partners are side by side widi inside haads joined & outside hands on hip. Both begin with outside ft. 

Dance forward around the circle with step swing 4 times 4 meas. 

Step swing is as follows: Step on Lf (ct 1), swing Rf forward with knee somewhat bent (ct 2), & 
hop on Lf (ct 3) . 

Join both hands with partner & hold the joijned hands'out at the side a little below shoulder level. Do 
the German hopsey waltz four times, making one complete ttfrn to the R, the boy starting Lf and the 

girl Rf 4 meas. 

The Hopsey Waltz is a step hop lifting the free ft behind. The trunk may be bent a little to R when 
hopping on Rf and vice versa. 

Repeat all 8 meas. 

16 meas. 

IL 

Face partners in a double circle, the boys being inside & girls outside. Both have their arms akiiflbo. 

Both move backwards, separating from each other. (The boy's part will hereafter be described- — the 
girl's is opposite.) Step swing twice (L & R) moving backward 2 meas. 

Take 3 running steps (L, R & L; 3 cts)., continuing to move in the sjmie direction 1 meas. 

Turn to face the center of the circle & bring Rf up to Lf (heels together) and bow toward the center, 
where all the boys have come together (ct 1 ), & hold this pos. of bowing (cts 2, 3) 1 meas. 

Repeat these 4 meas., starting Lf again, moving backward toward partner 6i- turning to bow to partner 

4 meas. 

While the boys move to the center & bow &i described the girls move away from the center & bow to 
the audience. When the boys move back lo bow to their partners the girls do the same. 

Repeat all 8 meas. 

16 meas. 
Repeat the whole dance as many times as desirable, always with the same partner. 



DANCES BY LOUIS H. CHALIF. l^;J^'rZXt.'!^ZnZfi:r 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2— Of a litUe difficulty. 

3 — Rather difficult 

4 — Difficult. 

d — Duet dance. 

g — Group dance. 

8 — Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s. or g. 2. 
Siciliano, Sicilian s. or g. 2. 
Tarantella. Neapolitan s. or g. 2. 
Bolero. _ Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only. Andalus'.an s. 3. SOc. 
La Paloma. Mexican s. or g. 4, 
Pavane. Old French d. or g. ?. 
Chaconne. Old French d. or g, 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. .Austrian Feasant d. or g. 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. SOc. g. 1. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasacchok. Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g. 3. 
Csardas. j. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 4. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek. For 12 young women. 2. 
Greek Maidens Playing Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Oriental Interpretive s. or g. 2. 

BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. i Gavotte Waltz. 2. 

Mazur Waltz. 2. 
Description only. SOc. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original, -x 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northamton Glide. 2 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp., $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 

La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 

Note:— The numerals used with these dances 
denote much easier grades than in the other 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Proven(;al. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. . 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman. Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dzince. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic, for men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 

First of May. Swedish. SOc. With folk song. 1. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Cracovienne. Polish. 2. 
Goralsky Tanied. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Miatelitza). Russian. 1. 
Khorovod (The Crane). Russian. \ 
Lujock. Russian. \. 
Kolomeika. Russian 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. 50c. 

Sugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. ^2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 



DEMI-CHARACTER. 



Each. 



The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 

CONTRA. SOc. Each. 



Arkansas Traveler. 2. 
Beaux of Oak Hill. 2. 
Flowers of Edinburgh. 
The Graces. 2 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 



EXERCISES. 
The Classical Exercises for Technique. 

An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CflALIF NORMAL SCHOOL OF DANCING ^oSir,„T„°r" 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these c'asses has met with tremendous success. "Chalif dancing" and 
the ichool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated 0? separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art wnich while allowing an amateur 
to make rapid progress is yet aiithentic, tir-autiful, utterly captivatine: 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 

'Rallr^./^nn rlannincr an <>vUiKifirtn rlanl-Ar an*l a rrtmnosftr nf (lances. 



2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it hasj been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4tli: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
tke real dancing, and here one can be trained to teach it 

COURSES 
Each year during June and July there is a normal school with 
cirisses all day, both in the regular Chalif and Ballroom wcJfk and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and sotne week-day afternoons throughout the winter. Catalogs 
of any of thfise, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application 



THE BEAUTY 
OF THE ALPS 

TYROLEAN DEM( CHARACTER DANCE 

By LOUIS H. CHALIF 



other Characteristic and Demi-Character Dances bv Mr. Chalif are listed below. 
Their price is Three Dollars each. They can be procured only from 

THE CHALIF NORMAL 
L OF DANCING 



EST 4 



D ST 



E T . 



E W y R K 



Le Toreador d'Andalousie. s. or g. 4 
The Gipsy Camp. Spanish tambourine s. or g. 3 
The Andalusian Gipsy. Spanish s or g. 3. 
The Beauty of the Alps. Tyrolean Waltz s. or g. J 
Jean et Jeannette. French d. 2. 
The Joy of the Rose. Pierrot pant. s. 2. 
Columbine. French s. or g. 3. 
The Village Belle. French s. or g. 2. 
Sailor's Hornpipe, s or g. 1. 

The Pied Piper. Characteristic, 1 adult & g, children 
The Polish Princess. Polish s. or g. 3 
Marysia. Polish s. or g. 3. 



The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Stach i Zoska. Polish d. with panto. 2. 

Russian Court Dance, d. 2. 

Wegi^rka. Hungarian Military d. 2. 

The Hussar. Hungarian Char, s. or g. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

America. 6 Characteristic dances, from Indian times 

to the present. 2. 

Bow and Arrow Dance. Male s. or g. 3. 

La Creole. Characteristic s. or g. 3. 

The Cherry Blossoms. Japanese d. w. pant. 2 



SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF OTHER DANCES BY THE SAME AUTHOR 



COPYRIGHT. Idlj^BY LOUIS H. CHALIF 



e Beauty Of The Alps 

Demi-Character Dance By 

LOUIS H. CHALIF 



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The Beauty of the Alps 

TYKOLEAN DEMI^CHAKACTER DANCE 

Rather easy, for solo or group, 
by 

. LOUIS H. CHALIF 



Kc^<'' 



QThe dance should be performed playfxjlly, with the peasant swing fe- the freedom 6- expression 
of a mountain girl. Q The costume should be of Tyrol. Q Technical terms are explained at the 
end of the description. 

if I. ^ 

2 pas de Basque starting Rf 'counts 1, 2. 3, 4, 5, 6). The L hand holds skirt &- the R swings to 2nd 
position &- to 1st pos ■ • . 2 meas. 

1 pieasant waltz step turning completely around to R side (ds 1, 2, 3) &- 2 light stamps in place. 
Swing R hand to 3rd pos. amplified €r finish with both hands at belt with elbows forward.. 2 meas 

Repeat all the L, R &- L ^12 meas. 

16 meas. 

m ii. if 

A. 

Step on Rf, &- swing Lf forward &- hop on Rf (<Sts \, 2, 3) 1 meas. 

3 little steps backward ( L, R &- L; ds 1. 2. 3 ). The L hand holds skirt &■ the R swings from 2nd to 
1st pos 1 meas 

A peasant courtesy to R side < ds 1, 2, 3) 1 meas 

The same to L side I meas 

R^epeat all 4 meas 

1 pas de Basque to R (ds 1, 2, 3), 6- slide (ds 1, 2j hop (d 3) forward on Lf. The L hand holds 
skirt &- the R swings to 2nd pos. dr to 1st pos 2 meas 



Beauty of the Alps, 2 

2 peaLsant waltz steps turning once around to R side (ds 1-6). The R hand swings to 3rd arri' 
piified €r to 1st pos 2 meas. 

i pas de Basque to R &• slide hop on Lf &- pause (efts 1'6^ 2 meas. 

Leap forward on Rf, leap orward on Lf, €r 2 steps back (R &- L), Finish with hands at belt. 

2 meas. 

Repeat II A 6- B 16 meas. 

32 meas. 

Yodeiing Figure 

3 steps to R side starting Rf (dts 1, 2, 3) I meas. 

Remain standing on Rf &■ raise the hands to the mouth as if yodeiing. The fin«ers of the 2 hands 
meet just above the mouth, the hands making an acute angle 1 meas. 

2 waltz steps making 1 complete turn to L side starting Lf (ds I'6). The arms go from 4th pos. 
with L arm up to 4th with R arm up 2 meas. 

Repeat all to L side, but instead of 2 waltz steps take 1 waltz step starting Rf, then 2 steps ( L 6- R ) 

£r bring Lf behind, making a peasant courtesy ,■ 4 meas. 

Kepeat same beginning Lf to L side 4 meas. 

Kepeat same starting Rf to R side, &■ finish with courtesy -4 meais. 

16 meas. 

m w m 

1 pas de Basque to R (ds i, 2, 3'. The L hand holds skirt dr the R swings from 1st to 2nd pos 

1 meas 

Point Lf diag. forward ds 1, 2), h~ bend Lf in front of R ankle (d 3). The arms are in lateral pos. 

10 K side .. - 1 meas. 

Slide hop diag. fopA'ard on Lf (ds !. 2, 3i. The L hand is in 3rd ptos, amplified &- the R 

h^Sds skirt ■-•• - I meas. 



Beauty of the Alps, 3. 

Turn completely around to Rside with 2 steps i P\ &- L^, The arms ar? '^th 
Kepeat 3 times more, starting Rf . . 

m \), m 



Touch R heel diag forward <d: I *, bend Rf in front of L ankle (d 2), &- swing 
Both hands hold skirt 

1 pas de Basque to R (ds I, 2, 3 i. The arms are unchanged 

Kepeat all starting Lf 

2 waltz steps turning completely around to R ds 1-6 >. The arms go from 4th pos. with 

to 4th with L arm up 

Peasant courtesy to K rds 1, 2, 3) • ■ •• — 

The same to L 

Repeat the 1st 4 meas. of this Fig 

I waltz step (ds I, 2, 3), &- 1 step to R (dij ^ rest (ds 2, 3) ■ 

Leap forward on R &- Lf ^ step back 6- courtesy 



I meas 

12 meas. 
i6 meas 



forward ( d 3 ': 



.1 

. . 1 meas 
2 meas 

I arm up 
2 meas 
1 meas. 

.. 1 meas. 
4 rr.eas 
2, meas 

. 2 mcas- 
16 meas. 



EXPLANATION OF TERMS. 

1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 

2nd Position: The arms are raised sideways a little below shoulder level. 

3rd Position: The R arm makes a half'circle over &- in front of the head &■ the L is in 2nd pos. 

Reverse for "L arm in 3rd pos." 

3rd Position Amplified is the same, except that the raised arm is less curved. 

4th Position: The R arm makes a half-circle Over &- in front of the head and the L is in 2nd pos. 

Reverse as above. 

5th Position: Both arms make a circle over and in front of the head. 

Lateral Positions have 1 arm in 2nd pos. €r the other in 1st. 

Peasant courtesy to R is step Rf to side id I j, touch L toe behind R heel id 2 ;, &- bend both knees 

( d 3 ) . Touch the chin with the K forefinger, 6- support the R elbow with the back of the L 

hand. 

Peasant Waltz is a simple 3 step turn. 

Pas de Basque is a semi-circle &■ leap Rf to R side (d I ), slide Lf forward in front of Rf fd 2 ;, 6- 

bring Rf up behind Lf cutting Lf out forward (d 3). 

Step Swing in 3 ds is step (d Ij, swing the other ft forward (d2) ^ hop on the 1st ft d 3). 

Step or Slide Hop is hop on 1 ft &■ lift the other backward. 

Slide Step Step Hop demands that the free ft be lifted backward. 

Slide Step Step Swing demands that the free ft bz lifted forward. 




DANCES BY LOUIS H. CHALIF. 



The fuilowing list of dances composed o>' 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



2— Of a litUe difficulty. 
3— Rather difficult 
A — Difficult. 
d— Duet dance. 
g — Group dance. 
».— Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gltana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
PlyasovAia. Russian s w. pantomime 2, 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 

BALLET. 

La F£te de Jardinier. Pantomime and 
six dances. $10. 

Christmas Festival Series of Dances. 
Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note; — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassie. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasik. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA, 

Arkansas 

Traveler. 2. 
Beaux of 

Oak HUl. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2 

Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(LaTempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 
$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing BalL Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Sprins Song (Mendelssohn). Interp. s2. 

Hark, Hark, the Larkl(Schubert). In.s3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. lamb, s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegifrka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant.2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $3. 
The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. I. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new. in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpai.d, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAL bCHOOL OF DANCING ^.«^-^«"«*» 



Concerning It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical trainins?. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the S'^hool which radiates it hav» come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

inis IS the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated aS separate branches, but almost all 
the beauty of the original, and quiir all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, b>-»autiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 

"Rflllrncvm danrinor an <»vViiKi+iAr» Aant*»r ^*\A <» «^/>*Mr»/vo<M. /vf.*^' 



2nd: L. H. CHALIF 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From g 
years of age a student In t'..e Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demanrt for 
tW real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
ciesses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 



THE BLUE BIRD 

LOUIS H.CHALIF 
ai/" ^/i<i ^Oa/?ce ^ is cc>/:^^r?'$!Mcd , a77d cnn ic ysro cured o^y/y /9v75% 

Jl2d Shatij ^Zovmx^ SOI20OC aj ^oiizcing 



/aSTHFTIC AND GREEK DANCES 

THE MOON DANCE J;7-^cnpra?^'rc Ornn^al So/o 

THE FOREST SPIRITS Si^^^t-k $roup idamc, Siny^^c 

THE FAiRr QUEEN S,y,y.u Scy^o ^cm.^ 

FIREFLIE5 Ji'mpZ^ So/o Illi,^c<^ 

THE NIGHTINGALE J'n^^l^^- ^o/.. '-^ance 

THE BLUEBIRP /TxMc^c sa/o 

KALSE BRILLANTE ' F^i-h^hi sc^/o 

POLKA MINIATURE J"//^/?/.? Ss^/?<^!'^c Sa/a 

EUGENIE ON EDI N ^a/^ Sc/o 

WINPanpWAVE ^r'c'e;!^ S^/o 

PAPILLONS P'AMOUR fVa/^ ^^,^lsrc a?^/y 

MIONONNETTE £s,^hc^,'<^ SaU 

POPPIES /? yery sipyjp/e £y /■/?<: h'c So/o 

PIZZICATO So/o fv'oi-i-t dcizici ■■ S///V7C7 " 

BLUETT E POLKA Fsi-hch'^ Solo 

THE VILLAGE BELLE Jo/.-- 

THE SPIRIT OF SPRING .9rac/^ soh 

THREE FAIR MAID5 Jolo or 9roi,^ 

THE OOLDEN BUTTERFLY So!o 

MIDSUMMER Nl-OHT'6 PREAM the ^.Oana of ffy<! ^auuc: 

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THE BLUE 
DANUBE WALTZ 

GREEK SOLO OR GROUP DANCE 

By LOUIS H. CHALIF 

Other Greek and Interpretive dances by the same author are listed below. 
Their price is Three dollars each, and they can be procured only from 

The CHALIFNORMAL 
SCHOOL of DANCING 



7 WEST 42ND STREET. NEW YORK 



Allemande. Old French g 2. 
Bavarian Polk Dance. 1. 
Bourree. Old French. 2. 
La Creole. Characteristic s or g 3. 
The Hussar. Hungarian Char, s or g 2. 
La Mancha. Spanish s or g 2. 
Plyasovaia. Russian s w. pantomime 2. 
Pompeian Flower Girls. Old Roman g 2, 
Psyche. Interpretive s or g 2. 
Soldier's Joy. 1. 

Song of the Robin. Interp. s or g 1. 
Stach i Zoska. Polish d with panto. 2. 
Summer. Greek Interpretive s 2. 
America. 6 Characteristic dances from 

Indian times to the present. 2. 
Blue Danube Waltz. Interp. s or g 3. 
Circassian Circle. 1. 
Circassian Circle. I. 

Petite Coquette, s or g 1. $2. 
The Song of the Robin. Interp. s or g 2. 
The Joy of the Rose. Pierrot pant, s 2. 



Winter. Greek Interpretive s 2. 

The Cherry Blossoms. Japan d w. pant.2. 

Allegretto, s or g 2. $2. 

Cleopatra's Dane*. Oriental Int. s or g 2. 

and g of children. 2. 

of children. 2. 
Ca la Breaza. Rumanian s or g 3. 
Chopin's Waltz, C sharp tr-nor. Int. s ■* 
Hark, Hark, the Lark!(Schubert). In.s 3. 
Valse Caprice (Rubinstein). Int. s 3. 
Spring Song (Mendelssohn). Intern. s2 
Esthetic Waltz, s or g 2. 
In Cleopatra's Court. Panto, ballet. $10. 

and g. of children. 2. 
of children. 2. 
Second Hungarian Rhapsody. Csardas 

s. 4. 
Little Fairy Snowflake. s. or g. 1 $2 
Esthetic Waltz, s. or g. $2 
La Russe. 1. 



SEE BACK COVER FOR EXPLANATION OF ABBREUIA- 
T 1 N S AND LIST OF OTHER DANCES BV THE SAME AUTHOR 
Copyrights l9lf,byLoulsH . C h a I i f 



The Blue Danube Waltz. 



INTRODUCTION. 

Andantino. 



Arr. by Louis H. Chalif. 




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The Blue Danube Waltz. 4 



The Blue Danube Waltz 



GREEK DANCE 
Somewhat difficult, for solo or group, 
by 
LOUIS H, CHALIF 



Q The dance should be performed with gaiety and animation Q On each step swing the knee 
of the lifted leg should be considerably bent, as in the typical Greek arabesques. Q At the end 
of the descrjpiion is found an explanation of terms, 

INTRODUCTION 

The music of the introduction has 6 ds to the meas. Before the dancer appears there are played 

^W% meas. 

Enter with all the joy and abandon possible, as if it were a glorious thing just to be alive The 
steps here are (beginning in the middle of the 1 0th meas.): 

.Many little steps diag forward to K (ds 4, 5, 6), finishing on the 1st d of the llth meas. on Rf 
with Lf raised behind and arms in 3rd pos. amplified, and hold (ds 2, 3). Take 2 steps diag 
back to L (L and R; 3 ds to each step) in a buoyant manner, rising on the toe with each step, 
but without a hop. The free leg is lifted forward on each step with the knee sharply bent. 
The hands play an imaginary single pipe and the trunk and head are thrown back. The whole 
combination requires 4 half^measures or , 2 meas. 

Repeat all diag. forward to L, starting Lf .......2 meas. 

Repeat to R, starting Rf - 2 meas. 

Run diag. backward to L turning to L once around and finish at L side of stage with weight on 
Lf Rf pointed forward, arms 3rd pos. amplified with R arm up, palms down, and head and 
trunk thrown far back. Reach this attitude gradually and hold it until the music for Figure 1 
begins; make it of an ecstatic chgj-acter, as if the cup of joy were running over, at the prospect 
of dancing ............. 2x meas. 



If a group be dancing stand on Lf, Rf pointed back, arms 3rd pos. amplified, &- trunk bent back' 
&- to R while the 10'/^ meas. are played, then proceed as in the solo dance. 19 meas. 



Move to R side with the following steps: 1 waltz turn to R consisting of 6 steps (2 meas.) &■ 

step swing twice tR &- L; 2 meas.), repeat the waltz turn (2 meas.), slide onfif (ds 1, 2), hop 

on^Cf (d 3), hop again on /Jf (d 1), ^ hold (ds 2, 3. 2 meas). Q On each waltz turn the 

arms are 2nd to 5th pos. &- the trunk bends to L &r R. On step swing twice the arms are 3rd 

pes. with R arm up &- same with L up, &- trunk bends to L &- R. Make these 2 step swings 

very distinct, to be in accord wich the grace notes in the music. On slide hop hop move the 

arms slowly from 5th pos. to 3rd pos. amplified palms down, finishing the attitude on the last hop. 

8 meas. 

Repeat all to L R ^ L ........24 meas. 

Hold the last attitude (on Lf ) ..1 meas. 

33 meas. 



Move to R side with the following steps: Step swing on Rf (1 meas), i waltz step of 3 
steps moving to R side, starting cross Lf in front of Rf (1 meas.), &- 1 waltz turn to R of 6 steps 
starting Rf (2 meas). Q The arms are 3rd pos. with R arm up &- trunk is bent to L on 1st 2 
meas., &■ arms 2nd &■ 5th pos. £r trunk bent to L &• R on the waltz turn....... ........4 meas. 

Step hop forward on Rf lifting Lf behind (I meas.), £r step hop back on Lf raising Rf backward 
(an exceptional movement) (1 meas.). The arms are 5th pos. on the 1st meas. &- a low 2nd pos. 
extended &s far back as possible on the 2nd meas., on which the head and trunk are thrown 
back as far as possible, making with the R leg a smooth curved line T chest is elevated. 

2 meas. 

Tour {ete to R side, (a tour jete means a leaping turn, i. e. step Rf to side, leap on Lf, turn half- 
way around to R, step Rf, &- complete the turn). The arms are 5th pos. for the turn, &- the close 
is in the attitude just described, with L leg back..... ..2 meas. 



Repeat all to L side, starting Lf. -S meas. 

16 meis. 



INTERLUDE 



Run with little steps in a very small circle to R &- finish in the attitude of the close of the IntrO' 
duction. Hold for the short pause in the music 3 meas. 



Step swing &- step hop starting Rf ^ moving diag. forward to R (2 meas.), &- turn in place 
once or twice around to R with many little steps on the toes (2 meas.). The arms are 3rd 
pos. amplified with R arm up 6- wave slightly in time to the music (1st 2 meas.) &■ in 5th with 
wrists crossed &■ palms down, the face looking up, for the turn 4 meas. 

Repeat twice more in the same direction, always starting Rf 8 meas. 

Turn to the R &■ move toward back L corner of stage with the following steps: Slide hop on 

Rf (1 meas.), repeat on Lf (I meas.), run with many little steps (I meas.) &- finish on Lf &■ hold 

(1 meas.). Of The arms are 3rd pos. with L asm up, the trunk bending to R, for the 1st slide 

hop, reversed for the 2nd, &- 3rd pos. amplified with R arm up for the run &■ hold. 4 meas= 

16 meas. 

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Slide step step hop to R side, starting Rf. The arms are 2nd pos. and finish extended parallelly 

diag upward a little to R side but strll in front of the shoulders, the R arm lower than the L. 

2 meas, 

Move to L side with many little slides on the toes (1 meas.), &- slide hop on Lf (1 meas.). Begin 
these steps moving backward &- turn gradually so as to be almost facing L for the slide hop. 
The arms remain parallel &- move slowly down, the trunk bending forvv'ard, &- are raised on 
the L side in the same pos. as at the end of the 2nd meas. Finish with the trunk ben back &- 
to the R. These 2 meas. represent a great wave 2 meas. 



Repeat all 3 times more, always starting Rf , ... ., , 12 meas 



16 meas. 



Moving diag. forward to R. step swing &- step hop, starting Rf (2 meas.), slide £r hop very high 
on Rf (1 meas.). step Lf forward (ds 1, 2), &- step Rf forward (d 3) (I meas.). Q The arms 
are 3rd pos. (1st 2 meas.), 5th pos. (3rd meas.), &- 2nd pos. (4th meas.) Q The accent of the 

music \s on the 3rd meas.: hop very high to emphasize it &- throw head &- trunk back 4 meas. 

Repeat to L &- R .........8 meas. 

Move diag. back to L with 1 waltz turn to L, consisting of 6 steps starting Lf (2 meas.), &- in 

same direction step Lf (ds I, 2), step Rf (d 3), &• step Lf &- hold (ds 4, 5, 6; 2 meas.). The 

arms are 2nd ^ 5th pos. on the vv/altz turn &- 3rd amplified with L arm up on the 3 steps &- hold. 

4 meas. 
16 meas, 



In this figure the music is soft &- the dance quiet. 

Move diag. forv\'ard to R with the following steps: Step swing on Rf lifting L knee forward 
suddenly with knee sharply bent (1 mea^.), step Lf across in front of Rf (ds 1, 2), step Rf be^ 
hind Lf in 3rd pos (d 3; ! meais.), step hop on Lf across in front of Rf (1 meas.), &- slide hop 
forward on Rf (1 meas). The arms are 3rd pos. with R arm up &- trunk &- head bent back on 
1st 2 meas., 5th with trunk bent to L on 3rd meas., &- 3rd amplified, palms down, R arm up on 

4th meas 4 meas. 

Repeat ail to L &• R ., 8 meas. 



Turn to L &■ move diag. back to L with step Lf forward &- hold (1 meas ). same with Rf (I 

meas), several little running steps (1 meas.), finish on L &- hold (I meas.) The arms are 3rd 

pos. amplified, L arm up, palms down '.............. ,4 meas. 

16 mea^. 



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This figure also represents a wave, one larger than before. 

Facing L, many little slides backward moving to R side. &- while moving turning gradually to the 
R, finishing on Rf facing R (2 meas.). Q Just before beginning (d and) raise both arms high 
overhead &- parallel, the hands equally high. While moving to L bring the arms down, bending 
the trunk forward; when facing R raise arms &- trunk, finishing in the attitude in which the wave 
movement began, with an accent of the hands on the 6th d 2 meas. 

Turn in place once around to L with step hop twice (L and R). The arms are in 5th pos., 
and finish in 2 parallel lines upward .... 2 meas. 



Repeat all 3 times more, moving to L, R and L .12 meas 

16 meas. 



m uiii m 

Moving to R side take 1 waltz step (3 steps, R, L and R), turning completely around to R 



meas.), step on Lf and hold, raising Rf forward suddenly, with knee sharply bent. Do not 
hop. (I meais.). The arms are in 2nd pos. on the 1st meas. and in 3rd with L arm up on the 2nd. 

2 meas. 

Step hop forward on Rf bending the trunk somewhat forward (1 meas^ and step hop back 
on Lf leaving Rf forward and raising the trunk (1 meas.). The arms are 2nd and 5th pos. 

2 meas. 

Repeat all twice more, starting Rf, but omit the last meas. (the step hop back on Lf) ... 7 meas. 
Turn in place once or twice around to R with many little steps. The asms are in 5th pos... 2 meas. 

B 

Move in a backward semicircle toward L side with 4 waltz turns to the R, each consisting of 6 
steps, 2 meas. On each 1st meas. of a turn throw the arms, head and trunk back, the arms 
being a little below 2nd pos. and used with an accent. On each 2nd meas. the arms go to 5th 
pos. and the trunk is straightened 8 meas. 

Turn to R with many little steps in place* The arms are in 5th pos 2 meas. 

Finish on the last chord stepping Rf forward and extending the L hand forward shoulder'high 

and the R hand back, the body twisted „ 1 meas. 

24 meas. 



EXPLANATION OF TERMS. 

1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 

2nd Position: The arms are raised sideways a little below shoulder level. 

3rd Position: The F^ arm makes a half'circle over &- in front of the head 6- the L is in 2nd pos. 

Reverse for "L arm in 3rd pos," 

3rd Position Amplified is the same, except that the raised arm is less curved. 

4th Position: The Pv arm makes a half-circle over &- in front of the head and the L is in 2nd pos. 

Reverse as above. 

5th Position: Both ar.ns make a circle over and in front of the head. 

Lateral Positions have one arm in 2nd pos., and the other in 1st. 

Step Swing means swing the free ft forward &■ at the same time hop on the other 

Step oi Slide Hop is hop on one ft &- lift the ether backward. 

Slide Step Step Hop demands that the free ft be lifted backward. 

Slide Step Step Swing demands that the free ft be lifted forward. 



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:, The following list of dances composed o/ 

-'" _: • " „. ° arranged, copyrighted, published and for 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1— Easy. 

2— Of a little difficulty. 

3— Rather difficult 

1 — Difficult 

d— Duet dance. 

g — Group dance. 

E — Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabands. Old French d. or g. 2. 
iPavane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. '3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or jj 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 

La Fete de Jardinier. Pantomime and 
six dances. $10. 

Christmas Festival Series of Dances. 
Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note: — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. I. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA, 

Arkansas 

Traveler. 2. 
Beaux of 

Oak HiU. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each, 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three- Hand 

Ring. 2. 
The Tempest 

(La Tempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvoi^ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2, 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $3. 
The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents up. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2,50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, hy 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



L, SCHOOl. OF DANCING 



A Few 'Words 
Concerning It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the Sf;hool which radiates it have come into a North Annei"ican repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated qS separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, b.'autiful, utterly optivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagog y is fu rnish ed. By th e time of graduation 



2nd: L. H. CHALIF 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a deman<^. for 
tl^-e real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
Crosses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the wrinter. Catalogs 



BLUETTE POLKA 

An Esthetic Solo or Group Dance 



BY 



LOUIS H. CHAUF 



Price $3.00 



For sale only by 






•^0 7 Wes-t ^iZ-rS ^itcci ^EwVb rvl 



The following are other Esthetic Dances by Louis H. Chalif. Any one will be sent postfree on receipt of 



The Blue Bird. s. or g. 4. $3. 

Bhiette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. SOc. 

Eug£nie Onyegin, Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3, 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 



Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3, $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. I. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc 



See back cover for explanation of abbreviations and list of other Dances by the same Author 
Copyright, 191^ by Louis H. ghalif 



Bluette Polka 



Andante 



arr. by Louis H. Chalif . 




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Bluette 7 



Bluette Polka 

An Esthetic Solo Dance. 

Somewhat difficult 
by 

LOUIS H. CHALIF. 



I. 

2 polka steps diag. forward beginning R ft; Arms lateral from R to L. . . 2 meas. 

In the same direction, beginning R ft, leap step, leap step. Arms 3^" position. 1 " 

Slide hop on R ft. Arms 1st to ard pos., -I i. 

Repeat same to L . 4 " 

Repeat all . . . . . ,, . . . . . ... .8 " 

16 ", 

II. 

2 polka steps backward beginning R ft. Arms lateral from R to L. . . . 2 " 

Slide hop on R ft turning completely around. Arms 3rd pos. . . . . . 1 " 

2 steps forward, L & R. Arms 2".^ pos . . 1 " 

-Repeat same to L & R. , 8 " 

1 polka step backward beginning L . . 1 " 

Step R ft, step L ft across in front of R ft & hold. Arms ist to 3rd pos. -] » 

Moving in a diag. line forward to R side, 
Slide hop on R ft, slide hop on L ft & take 4 steps in same direction, finish- 
ing on L ft. Arms lateral from R to! L & finish in SJ'ji pos. . . . 2 " 

16 " 



PANTOMINE 

Stand on R ft, left ft 4th pos. behind &with both hands blow an imaginary horn . 1 

Bend R knee a little & listen with R hand 1 

Repeat all to L 2 

Step back on R & listen 1 

Step back on L & listen '. . 1 

Turn slowly around to R with 2 steps & finish vnth R ft pointed in 4tb pos & 

arms in 2".<i pos ... 2 

Hold this position & move the arms from S^i^ L to 3^^ R . ... . . 2 

Bluette 7 ,10 



III. 

2 polka steps forward beginning R ft. _ 2 meas. 

Turn around to Rside with slide hop, on R ft & step step step. Arms from 1^-^ to Srd 2 " 

Repeat same 4 " 

Turn & repeat with back to audience moving to back of stage. Finish facing audi - 

ence _8_ " 

16 " 
(This description is for a group of dancers: a soloist should dance this figure in 
a circle.) 



IV. 

1 polka step diag. forward to R beginning R ft 1 meas. 

Slide L ft across in front of R & hop twice on L ft. Arms 3^P pos.with R arm up. . 1 " 
Turn to R side & moving in a backward semicircle toward L side take 1 polka step (R 

ftT & 2 steps ( L & R) 2 " 

Repeat same beginning L ft to L side • 4 " 

Repeat all ............ _8_ " 

16 " 

PANTOMINE. 

Slide hop hop on R ft to Rside. ::•... .1 " 

Remain standing on R ft & blow horn to R side .1 " 

Repeat same to L & R sides. 4 " 

Step on L ft & blow horn. • . 1 " 

Bend L knee & listen with L hand . 1 " 



V. 

A. Point R ft diag. forward, lean over toward ft, point Rhand over R ft,L hand in 

2^A pos 

Bend R ft behind & turn to face L corner. Arms S^i^pos . .1 

1 polka step to R beginning R ft ........ 1 

Repeat same to L & R 4 

B.2 polka steps backward beginning L ft i- • 2 

Step & courtesy to L 1 

Step on L ft & point R ft in 2 l'^ pos. Arms lateral to L side _1_ 

10 

VI. 

Beginning R ft, 2 polka steps diag. forward R 2 

Turn quite around to Rside with slide hop, stepjStep. • 2 

2 polka steps to L side ' • { " ^ 

Step courtesy to L & R & step to L with arms 5^? pos 3 

Pause /. 1 

Slide on R f t & take 4 hops on R ft diag. forward. Arms Sra pos. & change 

to 5th pos. on last hop. 2 

Step to L side & courtesy. _2_ 

14 



Bluette 7 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed or 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2 — Of a little diScultj. 

3— Rather difficult 

^ — Difficult 

d — Duet dance 

g — Group dance. 

s — Solo dance. 



NATIONAL. $3 Each. 
Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. . 

Tarantella. Neapolitan s. or g. 2. ' 
Bolero. Spanish s. or g. 4. 
Madrilefia. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only. Andalusian t. 3. SOs, 
La Paloin«. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de U Cour. For 4 couples. $S. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. Austrian Peasant d. or g. 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. SOc. g. 1. 
Krakowialr. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and »^ 2. 
Kasatchok. Russian peasajit d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
CsardSs. d. or g. 3. 
Csirdas. s. or g. 3. 
The Magyar, Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 4. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 :Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek. For 12 young women. 2. 
Greek Maidens Playing Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Hl^moresque. Description only. s. $3. 
The Moon Dance. Oriental Interpretive s. or g. 2. 

BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotta Waltz. 2. 

Mazur Waltz. 2, 
Description only, 50c. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northamton Glide. 2. 



One- Step. I. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp., $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glid^. 1. 



CHARACTERISTIC BALLET. $3 Each. 

Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Htt Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 

La FSte de Jardioier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. ?1 Each. 

Note: — The numerals used with these dances 
denote much easier grades than in the other 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dancc.^ Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. En|;lish. 1. 
Thanksgiving or Festival Dance. 2. 
The WheeL Athletic, tor men or boys. 2. 
Old AVelsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. I. 
Ring Dance. Swedish. 1. 

First of May. Swedish. SOc. With folk song. 1. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Cracovienne. Polish. 2. 
G6ralsky Tanief. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Miatelitza). Russian. 1. 
Khorovod (The Crane). Russian. J. 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
Straiak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1 
Scalp Dance. Amer. Indian. 1. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. SOc. 

Eugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. 92. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. ^ 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s or g. 4. 

Jean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 

CONTRA. SOc. Each. 

Petronella. 2. 
Pop Goes the WeaseL 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 



Arkansas Traveler. 2 
Beaux of Oak Hill. 2 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



EXERCISES. 
The Classical Exercises for Technique. 

An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
.Senior exercises. Price. $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING ^oS:r,„T„°r.t 



IT IS located in New York City, at 7 West 4and Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teacher* of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simpUfied, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difBcult steps and minute 
stage detail have been treated aS separate branches, but almost all 
the beauty of the original, and quite all of its spirit and, sc^pe have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowleidge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempte<^ by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really pi'eserved. Third, a thor- 
ough regard it had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is auitablc for ofFeriiig to all of the 
American public. 

When taught to teachers it includes Aiore than this, for an excel- 
lent training in Pedagogy is furtiished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Sallrootn dancing, an exhibition dancer and a composer of daneck 



2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . • 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "thf most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and ipore ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the re<d dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the 'vinter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



BOLERO 

Spani-s/z Sb/o or ffrottp i^anoi C?/-ra/yeJ df 

LOUIS H.CHHIF 

J^c -^l/cwr'/jc; are t^//^e/- O7tr^ior}c7/ '-(lances i>ir ^/z..' s-amc' anchor ^ wA/ch /ii-Tfe "ee.n 
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<niisi'a cT/'^ a corr?^^c? e c^escri/^f / a^ o-f ffyc aUi/Tce are co/o^ri^Af-cd and cci/i ie ^rc/cin-ecl ^n/yfri/- 

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FIJRLANA 
TARANTELLA 
SALTARELLA 
TrROLIENNE 
BOLERO 
MADRILENA 
flLf GAPITANO 
CACHUCA 
LA FERI^ 
LA PALOMA 
CHACONNE 
MAIP-OF-HDNOR 



S'cih'an Solo PAVANNE 

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4 



The Bride's Dance 



A RUSSIAN PANTOMIMIC SOLO DANCE 



BY 



LOUIS H. CHALIF 



Price $3.00 For sale only by 




oiHi^^iLanip inio]rim.^il: 




The following, by the same author, are other National Dances, selected from a very wide repertory as being the 
world's best. The price of each is $3.00 They consist of appropriate music and a complete description of the Dance, 
are copyrighted, and can be procured only from the School. 



Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. 
Tarantella. Neapolitan s. or g. 2. 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only. Andalusian 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples 



$5. 2. 



Queen of Swords. Minuet for 12 or 8 couples. 2. 



Tyrolienne. Austrian Peasant d. or g. 2. 

Polska. Swedish d. or g. 2. 

Polonaise. Music only. 50c. g. 1. 

Krakowiak. By Glinka; d. or g. 2. 

Maid-of-Honor. Mazurka s. 4. 

Russian Quadrille. For 8 couples. 2. 

The Bride's Dance. Russian pantomime and s. 2. 

Kasatchok. Russian peasant d. or g. 3. 

Donskoi Cossack Dance, s. or g. 3. 

Csardas. d. or g. 3. 

Csardas. s, or g. 3. 

The Magyar. Csardas s. or g. 3. 

Hungarian Rhapsody, do. Mus. only. 50c. s. 4. 

Saibara. Japanese s. or. g. 1. 



SEE BACK COVER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF OTHER DANCES 
PUBLISHED BY THE SCHOOL 



Copyright, 191^by Louis H. Chalif 



The Bride's Dance. 



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arr. by Louis H. Chalif. 



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The Brides Dance. S 



The Bride's Dance 

A Russian Solo Dance, fairly easy. 
Arr. by 

LOUIS H. CHALIF. 



Entrance: Step R ft to R side, draw L ft slowly up to R ft & 

step on L ft (cts 1, 2). R hand is overhead, L hand on hip . . 1 meas. 

Repeat same 1 " 

Leap on R ft to side, step L ft behind R ft (jete, demi-coupe) (cts 
1 and). Repeat 3 times more (cts 2,3,4). Arms same as in 
1^t 2 measures 2 

2 Russian steps foward (R & L ft), arms slowly from 1st to 2".^ . 2 
A Russian step is: Extend R ft forward & bend L knee a 
little (preparation), step R ft forward, step L ft behind R ft 
(3rd pos.), step R ft forward again (cts 1 and 2). 
Step to R side & make a Russian bow as follows: Step R 
ft to side (ct 1), bring L ft up to R ft & touch the chest with 
both hands (ct 2), bend the body forward from the hips & open 
arms to 2"-'^ pos .2 " 

Repeat all to L side 8 " 

16 " 



II. 

Step R ft to side (ct 1), brush L heel across in front of Rft(ct2) 
& 1 Russian step on the heel diag. forward to R starting with 
L ft (cts 3,4). L hand is on hip, R arm in 3rd pos.amplified 
on cts 1,2 2 meas. 

2 Russian tortillers (R & L) back to place & 3 stamping steps in place 

(R,L,& R ft) Arms folded in front of chest. ...... 2 » 



Bride's Dance. 6 



A Russian tortiller is as follows: Lift R ft behind with knee raised 
to side (preparation), step R ft back & hop on R ft lifting L 
ft behind with knee to side (ct 1, and). Repeat same with L 
ft (ct 2, and). Arms are folded in front of chest. 

Repeat all to L, R & L ^meas. 

16 " 



III. 

Touch R toe in 21^ reversed pos. & hop on L ft (ct 1), swing R ft for- 
ward & hop again on L ft (ct 2), & 3 steps backward (ct 3, 4 ). 
L hand is overhead, R hand on hip 2 meas. 

Repeat same, starting with L, R, & L & continuing to move back. . . 6 " 



IV. 

step R ft to side (ct 1), brush L ft across in front & clap the hands 
in front (ct 2), step L ft across in front of R ft & hold this 
position (cts 3,4). Finish with R arm in amplified S^ldpos. 
& L hand on hip 2 meas. 

2 Russian tortillers moving back to place 1 " 

2 quick stamps in place, R & L ft (cts 1, and). Do not put any 

weight on L ft when stamping. Arms are folded in front of chest 1 " 

Repeat all, starting with L, R & L 12 " 

16 " 



V. 
Pantomime: The bride bids farewell to her girlhood friends. 
Turn to face R & take 1 Russian step toward R side of stage. Be- 
gin with R ft & from the toe. Arms open from 1st to 2"-'^ pos. 
as if saying, "I am. coming over to you to say good-bye. ... 1 meas, 



step L ft to side & make a Russian bow. The bow means "Good-bye'.' 1 meas. 
Begin' L ft & move sideways back to center of stage with jete demi- 
coupe slowly 4 times. L hand is on hip & R hand waves good- 
bye to the friends she has just left (4 times) 2 " 

Repeat beginning L ft to L side 4 " 

Roll up L sleeve, (cts 1,2,3,4) as if getting ready to dance again. 

While doing this take 1 step backward with R ft 2 " 

Roll up R sleeve & step back with L ft 2 " 

4 leaping pas de basque in place 4 " 

Pivot turn to R side (4 cts). Arms S^d pos 2 " 

Stamp L ft & hold. Arms back below shoiilder level . . . . . . i " . 

19 " 



VI. 

1 leaping pas de basque beginning R ft 1 mea; 

Slide hop diag. forward on L ft. Arms diag. 3^^ pos. 1 " 

Step R ft behind L heel, cutting out L ft diag. forward & slide L 

heel along the floor (coupe glisse) (cts 1,and)-, repeat this 3 
times more (cts 2, 3,4). The last time finish with L ft rais- 
ed. Arms through 21^ pos. & down (preparation), istpos.onthe 
first coupe, & finish in diag. 3rd pos. with L hand up . . . . 2 " 

Repeat all 3 times more, alternating L & R 12 '^ 

Repeat '1^-'- 2 measures, starting R ft 2 

Slide hop to R side, turning completely around. Arms 3rd ampli- 
fied pos 1 " 

2 stamps in place, L & R Cross the hands & open to diag. 3rd pos. i „ 

20 .. . 



Bride's Dance. 6 



DANCES BY LOUIS H. CHALIF. itltri^rShlf'SsSTn?." 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1— Easy. 

2 — Of a little difficulty 

3 — Rather difficult 

A — Difficult. 

d — Duet dance. 

g — Group dance. 



-Solo da; 



NATIONAL. $3 Each. 
Saltai-ella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. , 

Tarantella. Neapolitan s. or g, 2. 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only, ,^ndalusian s. 3. 50c. 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples $5. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. Austrian Peasant d. or g. 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. 50c. g. 1. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasatchok. Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
Csdrdas. d or g. 3. 
Cs&rdas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. 50c. s. 4. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek For 12 young women. 2. 
Greek Maidens Playing Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Orie: tal Interpretive s. or g. 2. 

BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
Description only, 50c. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 

La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess- $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 



umerals used with these dances 
asier grades than in the other 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2 
Narragansett Glide. 2. 
Northamton Glide. 2. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp , $3. 

Twinkle Waltz. 2 

Waltz, The. 

West Point Glide. 1. 



Note: — The 
denote much 
categories. 
Manchegas. Spanish. 3. 
Zorongo, Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tainbourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel .'Athletic, for men or boys. 2 
Old Welsh Dance. 2 
Highland Schottische. 
Irish Lilt. 2. 
Long Dance. Swedish 
Ring Dance. Swedish. 
First of May. Swedish. 
May Dance. German. 
Westphalian Peasant Dance. 
Cracovienne. Polish. 2. 
Goralsky Taniec. Polish. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Miatelitza) 
Khorovod (The Crane) 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
Strascik. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. I 
Scalp Dance. Amer. Indian. 1. 



2. 

1. 
1. 

50c. 
1. 



1. 



With folk song. 1. 



or g. 50c. 
■ $3. 



$3. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. 

Eugenie Onyegin. Waltz s. or g. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4 

Mignonnette. s. or g. 1 $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. 50c. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spa-^ish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. French d 2 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s. or g. 1 

The Polish Princess. Polish s or g. 3. 

Marysia. Polish s or g. 3. 

The Mazovian Maid. Polish s or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Aufomne (Bacchanal), d. 3. 



Russian. 
Russia*!. 1 



1. 



CONTRA. 

Arkansas Traveler. 2 
Beaux of Oak Hill. 2. 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



SOc. Each. 

Petronella. 2. 
Pop Goes the Weasel 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 



EXERCISES. 
The Classical Exercises for Technique. 

.An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
lirief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING " ^""^ ^^^^ 



IT IS located in New York City, at y West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the i'thool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 
This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
^the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 
The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



Conc<:rning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instruCor of dancing in leading Nov 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



BULGARIAN FOLK DANCE 



arr. bi/ 

L0UI5 H. CHALIP 



o/' Htg iJancc , J^/iej^ art co/:'y''''^/-'re<J and can /is ^/-oa/z-ac^ on/y from 

7 West 42 ni- 51 SQauo Worfe 



Urice On a 'J)ol/ci7' (S'fich 



MANCHE6AS 

ZORONOO 

FARANDOLE 

FORLANE 

TOUROION 

BOURREE 

LA TAMBOURINE 

FRICASSEE 

NORMAN 

WODPEN SHOES 

IVIND MILL 

OLD iA/EL5H 

M0RRI5 PANCE 

MAY POLE DANCE 

RU5TIC DANCE 

THE WHEEL 

HIGHLAND 5(H0TT1 



?re/? ch 
0/d S/tnch 
yrencA- 

J?V77C^ So/a'/e/' Jo^k.c4, 

Cnff/'ycsfy 
0/d £nff7:'sh 
/7/-fi7i.'^c fi>r /nen am^ Ooj/s 
S(HE Search 



IRISH LILT 

L0N6 PANCE 

RIN& DANCE 

MAY DANCE 

KRAKOVIENNiE 

RUSSIAN WAVE PANCE 

5NoW 5T0RM 

KHORO/OD 

LUJOCK 

KOLOMElKA 

5TRASAK 

BABORAK 

BULOARIAN 

C5EHB00AR 

RITKA 

SNAKE DANCE 

5(ALP PANCE 



Jwidi'sk 

S&i-man 

J a h'sA 

rZiisslcin 

( /^icifiili/ja.) Russian 

( fhi Crane J /^t/ssian 

/?2ISS I a n. 

/c'i/ssi'n/i. 

fdo/id-m loii 

JSo/Tdmian 

^o//c ^hincc 
•^fun^ari'an 
^icnffm-ian 
•Indian 



By the S/*me Author 

S;ti-e.nsiy^ SerteJ cf S^clhonai ■^a/JCi.'-' ( <^ricc ^ «? each J ^cm?'- CAarac/c/- 
•ill/ices r ^ 3 J JScil/- roarrx -iPancei ( >^ J", y* a/id /Sa//<f/j , /EsMehc cTnc/ 
(^lctssi'ci.^1 ADanccj C ^ ^~ ^ ) , frocit/-oi/c o7'/y ^^^/^ t'/j e. Sc/ioo/ . 



BULG/IRIAN FOLK DANCE 



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I'^m/ P72miScr o^' cot,i./c>/e3 can ^cjk-c ^cirr ^ 

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J-^e/o /?- /7 {o ^ic/e an<J ho^ on /? // ra/s/'ny -i ■ f^ ^ //'///c 
&<i/Tn?d f cl '^ and J ^ r'c^ec?/ ^anne a?! -?'/''' f d 2 a/?c/ / 

/xep<^ci/ ^an-ra /'tozcc ??To/'C . . ■ ■ ^ ' 

Cross &7e fbei / /^ /^/ di'hi'ndj ( <^i ■/ J , ^'t!m/} ^ s/r-z'de pos . 

/^L'pt-'cil <?// i5 -^/77ej r?->o/L' f^ 

ye . 
IT. 

/^lipea^ same sn/o m// /T/oyi/?^ -/-orwarc/ tDv^ard Ccn^c?^ Of" ci'rc/c- . . ■ . ■^ •■ 

J^L'piicjf S'ci/yTd miYiny dcTck y^a/d . - . J*- <■ 

Kiipcci^ -forrward and Sack >• 

ur . 

<Jcic(i y/oariji&rs . GacA o/Te c/cJsp /t/s /jand dch/'/7c/ ^/J Oiy/z SacA . 

Cemn^ii pJcTciss Yvi^A partner . CincA dancer s-iedif Mays '^i ui^ se/n/'c/'rc/f 
h> opposite side . cy/ve jriap 7J ^he. s-cim^s as i/i Jvy . J" . 4- •■ 

Conii'mii, cfancinj -if fS sic/e a/Tcf iv^c/-n -fo y:;>i'c7c,a' .... .. ..-4'- 

/^'fpccT^ c?// ;7^oYi/7^ ^ -i ■ sic/a .......,..-,.,_ y '• 

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CA LA BREAZA 

RUMANIAN SOLO OR GROUP DANCE 

Arr. by 

LOUIS H. CHALIF 

Other National dances arranged by Mr. Chalif are listed below. Their price 
is Three Dollars each. They can be procured only from 

The CHALIF NORMAL 
SCHOOL of DANCING 

7 WEST 42ND STREET, NEW YORK 



Furlana. Venetian gondolier s. or g. 2, 

Saltarella. Sicilian d. or g. 2. 

Siciliano. Sicilian s. or g. 2. 

Tarantella. Neapolitan s. or g. 2. \ 

La Mancha. Spanish s. or g. 2. 

Bolero. Spanish s. or g. 4. 

Madrilena. Spanish s. 3. 

La Paloma. Mexican s. or g. 4. 

Cachuca. Sjianish s. or g. 3. 

La Feria. Spanish s. or g. 3. 

Ole Gaditano. Andalusian s. 3. 

La Gitana. Music only. Andalusian s 3. SOc. 

Pavane. Old French d. or g. 2. 

AUemande. Old French g. 2. 

Chaconne. Old Frencli d. or g. 2. 

Gavotte. French s. or g. 2. i 

Gavotte Directoire. Pavlowa's d. 2. SI. 

Sarabande. Old French d or g. 2. 

Minuet de la Cour. For 4 couples. $5. 2. 

Sailor's Hornpipe, s. or g. 1. 



Queen of Swords. Minuet for 12 or 8 couples. 2 

Tyrolienne. Austrian Peasant d. or g. 2. 

Ca la Breaza. Rumanian s. or g. 3. 

Sword Dance. Scotch s. 3. 

Highland Fling. Scotch s. 3. 

Polska. Swedish d. or g. 2. 

Polonaise. Music only. 50c. g. I. 

Krakowiak. By Glinka; d. or g. 2. 

Maid-of-Honor. Mazurka s. 4. 

Russian Quadrille. For 8 couples. 2. 

The Bride's Dance. Russian pantomime and ». 2. 

Kasatchok. Russian peasant d. or g. 3. 

Plyasovaia. Russian s. w. pantomime 2. 

Donskoi Cossack Dance, s. or g. 3. 

Csardas. d. or g. 3 

Csardas. s. or e. 3 

The Magyar. Csardas s. or g. 3. 

Second Hungarian Rhapsody. Csardas s. 4. 

Saihara. Ja|ianese s. or. g. 1. 



SEE BACK COUER FOR EXPLANATION OF ABBREUIATIONS 
AND LIST OF OTHER DANCES BV THE SAME AUTHOR 

C P y r i 2 h t. I 9 1 C. by Loui s H. Chalif 



Tilfi I'.hal;^ l;i 



Ca la Bi^eaza. 



A119 con spirito 

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Am by Louis H.Chalif. 



Piano, 




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Louis H.Chalif. N.Y. 



Ca la Breaza 

RUMANIAN PEASANT DANCE 
For solo or group, somewhat difficult 
Arr. by 
LOUIS H. CHALIF 



Q The name means "As in Breaza" a town of Rumania, &- is pronounced cah lah bree-Ah'Zah. 
QThe dance should be performed in a lively &- spontaneous way. Q The costume is of the Rumanian 
peasant, in many colors. 

m I. m 

2 running steps to R side { R &- L; counts 1, 2 ), the 2nd step being behind Rf. Step Rf to side pointing 
L toe in 2nd reversed position, which is toe turned in in 2nd pos. (d 3), swing Lf forward at the 
same time hopping on Rf (d 4) 2 meas. 

Repeat step and point toe and swing forward twice more (L and R; ds l'4) 2 meas. 

During the above 4 meas. the R arm is in 5th pos. &■ L hand on hip. 

Repeat all, to L, K &- L 12 meas. 

16 meas. 

E i(. H 

Step Rf to side (d I), strike the back of K ankle with the Lf &- slightly bend K knee (d 2 ). Repeat 
same to L <ds 3. 4) On ds !, 2 the R arm is 5th pos. &- L hand on hip, &- on ds 3, 4 this pos. 
is reversed 2 meas. 

Leap on Rf forward with an accent, bending R knee &- trunk forward &- opening the arms to 2nd 
(d 1), step Lf back straightening the trunk (d 2), &- 2 light stamping steps in place (R &- L; ds 3 4). 
Both hand" are on hips 2 meas. 

Repeat all 3 times more, always starting Rf ]2 meas. 

16 meas. 



m III. m 

Step Rf to side pointing L toe in 2nd reversed pos. (d 1), &■ swing Lf forward hof^ing on Kf (d 2) 
The R arm is in 5th pos. &- L hand on hip. Repeat to L Cds 3, 4) 2 meas. 

4 leaps in place each time lifting the free ft forward with knee slightly bent 6r somewhat turned out 
to the side, (ds l'4) . Both hands are on hips 2 meas. 

Repeat all 3 times more, always starting Rf 12 meas. 

16 i, eas. 

^ lU. n 

Step on Rf (d I) ^ swing Lf across in front of Rf hopping on Rf (d 2). The R arm is overhead 
&■ L hand on hip. Step hop on Lf across in front of Rf rasing Rf behind &- bending trunk forward 
The arms are 2nd pos. (ds 3, 4) 2 meas. 

Step Rf back (d 1), step Lf back (d 2), step Rf across in front of Lf (d 3). &- hop on Rf (d 4). 
Keep the arms in 2nd pos. on ds I, 2. 3 &- clap the hands in front on d 4 2 meas. 

Repeat all to L, R £r L ..12 meas. 

16 meas, 

m V. ^ 

4 running steps to K (ds l'4j or in detail: Step Rf to side, step Lf behind Rf step Rf to side, &- 
step Lf beside Rf in 1st pos. The R arm is overhead &- L hand on hip 2 meas. 

Open the heels to 2nd reversed pes., at the same time bending the knees slightly &• rising on the 
toes (d I), close the heels to 1st pos, straightening the knees &- lowering the heels (d 2), &■ repeat 
(ds 3, 4 .) The arms are as before ■ 2 meas. 

Repeat all to L, R &- L 12 meas. 

16 meas. 

^ Ui. ^ 

During this entire figure both hands are on hips. 

4 pais de Basque in place starting Rf Pas de Basque as used here is: leap Rf to side (d 1 ), step Lf in 
front of Rf (d and), step Kf in place (d2) 4 meas. 



Move backward toward L side in a circle so small that it is almost a turn in place The step is a 
skipping step backwards 8 times taking 1 d for each skipping step. Lift the free ft backwards 
each time but not as high ais in Kusssan tortilles - 4 meas 

Kepeat all, but instead of the last 2 skipping steps make 2 stamps in place in 1st pos. on the last meas 

&- raise the K arm overhead &- place L hand on hip 8 meas. 

16 meas. 

THE FIVE POSITIONS 

1st Position: The arms make a circle in front of the chest at the level of the middle of the chest 

2nd Position: The arms aire raised sideways a little below shoulder level. 

3rd Position: The Pv arm makes a half'Circle over &- in front of the head &- the L is in 2nd pos 

Reverse for "L arm in 3rd pos, " 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position; The K arm makes a half'circle over &- in front of the head and the L is in 2nd pos. 

Reverse as above. 
5th Position: Both arms make a circle over and in front of the head. 



A 







DANCES BY LOUIS H. CHALIF. 



The following list of dances composed o." 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each numbtr consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-mevements, etc., of the dance. 



ABBREVlATlOw^ 
I — Easy. 

2— Of a little diESculty. 
3— Rather difficult 
4— Difficult, 
d — Duet dance, 
g — Group dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2, 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Fete de Jardinier. P; 

six dances. $10. 

Christmas F 

Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10, 



itomime and 
tival Series of Dances. 



FOLK. $1 Each. 
Note:— The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2, 
Bourree. C)ld French. 2. 
Le Tambourin. Old French. 2. 
I'orlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. SOc. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1, 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



SOc. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

( La Tempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schifbert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s 3, 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian tiines to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3, 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $3. 
The Fairy Queen, s or g 2, $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz tiine g 3. $3. 
Petite Coquette. E or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2, $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. • 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 
Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Waltz. 2. 

MazurWaltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Te.xt 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. .'\n important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAL SCHOOL OF DANCING ^ "^^^ ^°''*' 



IT IS located in New York City, at y West 42nd Street, and leaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical trainine. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated cls separate branches, but almost all 
the beauty of the original, and qua? all of its spirit and scope have 
been retained. The result is an art wti:ch while allowing: an amateur 
to make rapid progress is yet authentic, b^^utiful, utterly C3ptivating 
to the stttdent, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rsst of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 



Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4tti: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demanr" iov 
tt«s real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
Czisses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 



11 



J 



CHERRY BLOSSOMS 

JAPANESE PANTOMIMIC DUET DANCE 

By LOUIS H. CHf)LIF 

other Characteristic & Demi-Character dances by Mr. Chalif are listed 
below. Their price is $3.00 each. They can be procured only from 

The CHf)LIF NORMAL 
SCHOOL of DANCING 

7 WEST 42ND STREET. NEW YORK 



The Vfllage Belle. French s or J 2. 

The Beauty of the Alps. Tyrol, s or g 2. 

The Andalusian Gipsy. Spanish s or g 3 

The Gipsy Camp. Span. tamb. s or g 3. 

Le Toreador d'Andalousie. s or g 4. 

Jean et Jeannette. French d 2. 

The Village Belle. French s or g 2. 

Columbine. French s or g 3. 

The Joy of the Rose. Pierrot panto, s. 

Sailor's Hornpipe, s or g 1. 

The Pied Piper. Charic. 1 adult & g 

of children. 

The Polish Princess. Polish s or g 3. 



Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 
Russian Court Dance, d 2. 
Wegifrka. Hungarian Military d 2. 
The Hussar. Hungarian Char'ic. s or g. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s. or g. 
The Cherry Blossoms. Jap. d w. panto. 



SEE BACK COVER FOR EXPLANATION OF ABBREVIA- 
TIONS AND LIST OF OTHER DANCES BV THE SAME AUTHOR 



Copyright. 191 



by Loui s H. Chalif 



Tk CbalOopnialSc'tiooi Of Banema 



Cbettity Blossoms. 



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arr. by Louis H. Chalif. 



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Louis H. Chalif. 




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Cherry Blossoms. 4 



The Cherry Blossoms 

SIMPLE CHARACTERISTIC JAPANESE DANCE, 

Rather easy, for 2 girls, 

by 

LOUIS H. CHALIF 



Q The character of this dance is demure &■ quaint All the movements, both of feet &■ arms, 
are small. The head is bent somewhat forward &- the chest is deflated. The feet are kept 
quite close together 6- are turned straight forward instead of out. 

Q[ The costumes are kimonos with large square sleeves &- an obi (wide sash) tied with a large 
bow in the back. Each girl carries a fe^v sprays of eu'tificial cherry blossoms. (J At the center 
of the stage is a vase to raceive the flowers later, having a grating over the top so that they may 
be arranged in it. (^ If a grand piano be used an effect of Japanese music may be obtained by 
laying sheets of thin paper on top of the strings To do this depress the damper pedel &- slip 
the paper underneath the dampers 

The introduction is played before the dancers enter 2 meas. 

^ I. ^ 
One girl enters from L back comer of stage with: 3 little steps forward starting Rf (<2s I and 2) 
6- pause leaving Lf behind (dX and). On d 2 she looks backward &- downward over her L 
shoulder, bending the trunk to L. She holds the cherry blossoms with both hands just below her 
chin I meas 

Repeat these steps 6 times more, starting L &- Rf alternately &- moving behind the vase, then 
around to R of it &- across in front, finishing to L of it 6 meas. 

Make a little bow to the audience by bending both knees, keeping them close together &■ bending 

the head (d I and) . 6- rising ( d 2 and) ...I meas 

8 meas 



m 11. m 

a 

Thinking that she hears someone coming, she looks suddenly toward R of stage thus: Keep the 
feet in place, turn head 6- trunk to R, bending the head to L, &- bend both knees a little. Hold 
this pes. for dts 1, 2, (1 meas.). Shade the eyes with the R hand &- bend the knees a little again 
(cas 3, 4: 1 meas.) ...C 2 meas. 

She runs with little steps toward R front comer of stage to meet her friend, &■ simultaneously the 
2nd girl who may now be called "B", &- the 1st "A", enters from R front comer of stage &- 
runs toward A, holding cherry blossoms in the same manner 1 meas. 

They stop when face to face (sideways to the audience) &- bow to each other as previously 
described, bending on d 1 &• rising on d 2 1 meas. 

b. 

Now follows a ceremonial greeting with the blossoms, which means "May you become as tall 
as the cherry tree &- beautiful as its blossoms." (J B stands perfectly still, arms in same pos., while 
A takes her blossoms in her R hand dr holds them over B's head (d I), repeats same (d 2), 
places them beside B's R cheek (ds 3. 4) &- beside her L cheek (ds 5, 6). Finish by bowing 
to each other as previously dfescribed (ds 7, 8) 4 meas. 



B does the same for A 4 



meas. 



C. 

A turns halfAvay around to L &■ dances forward toward center of stage with 3 steps &■ pause, 
previously, repeated twice (L &- R) 2 meas. 

A runs with little steps around to the L side of vase I meas. 

A slowly kneels, facing the vase, keeping the knees together as she descends &■ still holding the 
flowers in both hands 1 meas 

B during these last 4 meas. does the same as A except that she does not turn &■ does not need 
to run so far to reach the R side of the vase, where she kneels .16 meas. 



m III. E 

Both carefully arrange the blossoms 1 by 1 in the jar 3 rneas. 

Both lean back to see the effect, opening the arms sideways in admiration I meas. 

Rise very slowly 2 meas. 

Turn once around away from each other 1 meas. 

Finish facing the vase again, standing on the inside feet with outside feet pointed backward, bend 

sideways toward audience &■ look at the blossoms. Both hands are held palm down, the hand 

away from audience higher than the other. This attitude signifies admiration of the flowers. 

1 meas. 



meas. 



^ lu. m 

Both circle around the vase simultaneously, beginning Rf to R side, with 3 Steps &- pause (as 
previously described) repeated twice, which takes each girl half' way around 2 meais 

Run with little steps back to original places, completing a circle..... 2 meas. 

Repeat same circling the vase to the L, starting Lf to L side 4 meas. 

8 meas 



E u. n 

They move toward audience, starting outside ft: 3 Steps &- pause, as in Fig. I, repeated twice 
The hands are about 3 inches apart, almost touching the top of the chest, with palms in and 
fingers curved . 2 meas 

Turn in place away from each other once around with a pivot turn The arms are in a nar- 
row 4th pos,, 1. e., the outside hand is overhead &- the inside arm half-extended in front of chest. 
The trunk &- head are bent toward the inside 2 meas 

Repeat all starting inside feet &- turning toward each other 4 meas 



Repeat all, moving backward, each to her own side of the vase, &- finish in the attitude of the 

end of Fig. II -8 meas. 

16 meas. 



Ul. 

Move backwards away from the vase, i. e., sideways to the audience, starting Rf 6- separating 
from each other, with 3'Steps'£r'pause tv^ice, &- a pivot turn to the R, The arms are as in the 
previous Fig. 4 meas. 



Repeat moving forward tovv/ard each other, starting Lf 4 meas. 

Repeat ail 8 meas. 

Each take 3 steps to her R &- pause (ds 1 and 2 and). Both begin with Rf They still face 
each other. On d 2 they touch L hands together over the blossoms 1 meas. 

Repeat same moving to L side, starting Lf &- touching R hands I meas 

Turn quickly once around to R 1 meas 

Facing each other, bend both knees in preparation to kneel, stopping abruptly, to observe the 
rests in the music 1 meas 

Kneel facing each other with the vase of blossoms between I meas 



21 meas. 

Both lift the vase, rising slowly, &- carry it off stage, running with very little steps to the L side 
A running backxA/ards &- B forwards. There is no music for this. 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed Ok- 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2 — Of a little diBcultJ. 

3 — Rather difficult 

^ — Difficult. 

d — Duet dance. 

g — Group dance. 

s*-Solo dance. 



NATIONAL. $3 Each, 
jfurlana. Venetian gondolier s or g 2. 
laltarella. Sicilian d or g 2. 
liciliano. Sicilian s or g 2. 
tarantella. Neapolitan s or g 2. 
l^oUenne. Austrian Peasant d or g 2. 
iolero. Spanish s or g 4. 
<a Mancha. Spanish s or g 2. 
iladrileiia. Spanish s 3. 
!achuca. Spanish s or g 3. 
^ Feria. Spanish s or g 3. 
)le Gaditano. Andalusian s 3. 
<a Gitana. Andalusian s 3. $1. 
^ Paloma. Mexican s or g 4. 
iarabande. Old French d. or g. 2. 
'avane. Old French d or g 2. 
Ulemande. Old French g 2. 
'haconne. Old French d or g 2. 
lavotte. French s or g 2. 
javotte Directoire. Pavlowa's d. 2. $1. 
Iklinuet de la Cour. For 4 couples. $5, 2. 
Oueen of Swords. Minuet, 12 or 8 cpls. 2. 
sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
?olska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Srakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
?lyasovfiia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Casatchok. Russian peasant d or g 3. 
Sonskoi Cossack Dance, s or g 3. 
3s^dSs. d or g 3. 
^sirdis. s or g 3. 
rhe Magyar. Csardas s or g 3. 
tnd Hungarian Rhapsody. Csardas s 4. 
Za la Breaza. Rumanian s or g 3. 
^bara. Japanese s or g 1. 



I CHARACTERISTIC BALLET. 

! $3 Each, 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the AngeL Panto- 
mime ballet, d. 2. 

(I Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 

BALLET. 

La Kte de Jardinier. Pantomime and 
six dances. $10. 

Christmas Festival Series of Dances. 
Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note: — The numerals used with the 
Folk and Contra dances denote mucli 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. -Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(La Tempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoilmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvoi^ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi^rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $3. 
The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dresim: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2, $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $L 

Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. | Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents up. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAL SCHOOL OF DANCING ^oS^rmT^r.: 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result k an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 



2nd: L. H. CHALIF 

The second factor in the immense success of this School hat 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has beea 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
tW real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
c;-isses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 



CHOP(N PRELUDE 

GREEK SOLO DANCE 
By LOU IS H. CHf^LIF 

OTHER GREEK AND INTERPRETIUE DANCES BY THE SAME AUTHOR ARE 
LISTED BELOW. X ifi THEY CAN BE SECURED ONLY FROM 

THE CHALIF NORMf^L 
SCHOOL OF DANCING 

7 WEST 42ND STREET. NEW YORK 

Bacchanal Pastorale 

Diana Diana's Hunting Party 

P.relude Morning 

Noon Night 

Anitra's Dane? 

Crack Maidcna Playing Ball. Very effectiTC 2. $2. The Moon Dance. Oriental Interpretive i. or g. Z. 

Pompcian Flower Girls. Old Roman g. 2. Psyche, loterpretive s. or g. 2. 

Spirit of Spring. Greek Interpretive s. 3. Sonc of the Robiou Interp. (. or g. 1. 

Snmmcr. Greek Interpretive s. Z The Song of the Robin. Interp. t. or g. 2. 

Antmnn. Greek Interpretive a. 3. Bine Dannbe Waltz. Interp. s. or g. J. 

Winter. Greek Interpretive s. Z Homoreske l Dvorak). Greek s. 3. 

Chopin's Waltz, C sharp minor. Int s. 3. Wind and Wave;. Greek *. 3. 

Valse Caprice (Rubinstein). Int. s. 3. Cymbal Dance. Greek a. or g. 3. 

Spring Sons (Mendelssohn). Interp. s. 2. Forest Spirits. Greek. For 12 yoan( womca. 2. 

Chopin's Waltz in D flat. Interp. flower d. Barcarolle from "Hoffmann " Greek s. i. 

The Bbe Dannbe Waltz. Interpretive s. or g. Moment Hnsical. Greek s. 2. 

Hark, Hark, the Lark! (Schnbert). In. s. 3. Light and Darkness Greek duet with pantomime. * 

Cleopatra's Dance. Oriental Int. s. or g. 2. 

SEE BACK COVER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF DANCES BY THE SAME AUTHOR 

Copyrlfibt. 191 5. by Louis H. Cbali 



PREIUDE. 



F. CHOPIN. 



Piano 



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Andantino. 



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dolce. 



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Louis H. Chalif. 



Chopin Prelude 

GREEK SOLO DANCE 

Not very difficult, by 

LOUIS H. CHALIF 

Q This dance is e-sentiilly a pantomimic duet of a nymph puisued by a faun, but the faun is 

not visible except to the imagination. His momsntary location is indicated from time to time by 

the dramatic ac;tion of the dancer, to be able to show this she must clearly realize herself vA.here 

he IS at each instant. Q The pursuit is in the spirit of fun &■ the nymph is not loath to be 

caught Q Various emotions must be shown from time to time in her facial expression, such 

as fear, coquetry &- pleased confusion 

d The costume should be Greek in style, &- mav be of green, or green 6- brown trimrried vs'ith 

leaves, suggesting the Greek idea that a nymph was a part of the vA/oods, 

Q The music is counted I, 2. 3 to a measure: when 6 counts are named 2 meas are indicated 

As soon as the music begins enter from L rear corner of stage with these steps going back- 
wards: Step Lf back (d I), step Rf back (d 2), step Lf back making a quarter-turn to R (d 3) 
leap onto Rf to R side 6- immediately step Lf across in front of Rf. bending both knees (d and 
4), t-j- hold (5. 6) On d 1. 2, 3 the arms are in 3rd position amplified with L arm up palm 
down. &- head looks toward L. on d 4, 5, 6 the arms are in lateral pos to L side vvith palms 
out uis if repelling some one, &- the nymph crouches forward in pretended fear, with face turned 
toward L 2 meais 



Chopin Prelude 2 
Turn to K 2 or 3 times around with many little steps on the toes, the arms in 5th pos with 

wrists crossed &■ hands drooping palms doyvn (d 1, 2, 3), &- finish facing L &- stepping for- 
ward on Rf (d 4), with both arms to L. in parallel pos. with the L considerably higher than 
R £r the palms out as if pushing someone away, vA/hile the body &- head are ered &■ the face 
looks to L Take this attitude with emphasis &• hold it for d5,6 1 meai 

Rep)eat all continuing to R &- looking to L at the pursuing faun 4 meas 

' 8 meas 

^ II. ^ 
The nymph fears that she has really discouraged the faun by her evasions &- that he may leave 
her. so she calls him back. 

Turn to L once around with step &- hop on Lf, lifting Rf forward with knee bent (c> ! 2). 
step on Rf (d 3). step on Lf to L facing to L (d 4), &- hold (d 5). The arms are 3rd pes 
L arm up on d I, 2, 3. &- same pos. amp. with palm down on d 4, the L arm indicating the 
position of the faun almost 2 meas 

As a preparation change the weight to Rf (on d 6 of preceding meas). then step &■ hop 
on Lf lifting Rf forward with arms in 3rd pos. L up. (d 1, 2) &- 2 steps forward to L 
(R &- L; d 3, 4). making 3 beckoning motions toward L with both arms, \A/hich are parallel 
&• the L one very high. The 2nd motion should be a very strong one. the head &■ trunk 
takinj, part in it. Hold the attitude for d 5, 6 2 meas 

Now the nymph appears frightened again, because the faun has begun to chase her: she 
runs away, shaking her head as if saying, "I didn't mean to call you." 
Run diag. forward to R starting Rf with many little steps, arms in 3rd pos amp R arm 
up, (d I, 2, 3). step Lf across in front of Rf in the attitude of the close of the 2nd 
meas of Fig. I (d 4). & hold (d 5, 6) . . 2 meas 



Chopin Prelude 3 

Run again in same diredhon starting Rf, arms in 3rd pos amp. R up (d 1. 2, 3*, &- finish on 

Rf (dl 4) making a repelling motion to L side \A/ith arms in lateral pos. to L &- at the same time 

shake the head, finishing looking to R &- away from the faun. Hold this pos. (dt 5. 6) . 2 meas 

8 meas 

III. 

The faun continues to pursue the nymph &- she to elude him. dancing in a diamond'shaped path. 

Step &■ hop lifting P\f forward with knee bent, starting Lf. 6- with arms in 3rd pos.. L 
arm up (d 1, 2i, &- 2 aeps turning half-way around to L to finish facing to with Rf 
pointed forward 'R &- Lf: dt 3. 4). On dt 4 the arms are 3rd pos. amp. with R hand 
raised, palm down, as if repelfing the faun with great dignity while the head 6- trunk are 
very eredt. Hold for dls 5. 6 , 2 meas 

Moving diag. backward to L. staning Kf. do step hop lifting Lf forward, arms in 3rd 
pos R arm up (d i, 2), run with several little steps turning 11-2 times around to R (d 
3', £r finish on Lf 'd 4) with the shoulders facing L. the forearms folded lightly. R on 
top of L. the trunk twisted toward L. &- the head looking at the faun over R shoulder 
Take this attitude slithily as if slipping out of his grasp, &■ hold (d 5 6k , 2 meas 

Repeat the steps of the above 2 meais., moving diag. back R, turning once around to R, 
&- finishing on Lf facing &- looking diag. forward L, with Kf pointed back Both arms 
are extended diag upward L. L arm higher than R, palms out &- with a movement of 
pushing away 2 meas 

Repeat the same steps again moving diag. forward R &- turning approx. once around to 
to R Finish on Kf with Lf pointed back, face &■ look diag. back to L The R arm 
s be.it so that R hand rests lightly on the front of R shoulder: L arm is in 3rd pos. amp 2 meas 

After a little more eluding the faun catches the nymph &■ kisses her; she is overcome with 

pleased dismay &- runs away entirely 

2 skif^MOg steps to L side starting Lf 6- turning once around to L (d I 2' 'A skipping 



Chopin Prelude -t 
step IS hop step in I <fX. lifting the knee forward) Step Lf to L sidt- (d 3), leap on 
Psf across in front of Lf &■ immediately step on Lf to L side lifting Rf back with knee 
well bent vd and 4'. The arms are 3rd pos. L arm up &■ reverse on the skipping steps 
& finish in the fantastic attitude of 3rd pos L arm up vviih both elbows much beni trunk 
bent to R &■ head looking to R 2 msas 

Run in a stooping pos. as if trying to dodge someone, in a little semi-circ'e to R &- turn 
orice or twice around to R with many little steps in place (cS !. 2. 3' 
No^^/ the faun catches her around the waist &- kisses her. Sfie. standing on Lf facing L 
bends far back in her efforts to release herself, flexes her supporting knee 6r throws her 
her arms overhead ' d 4 >, &- holds (dX 5, 6 > 2 rneas 

She now sways from side to side with her arms ' still overhead struggling to get av^/ay 
(d I. 2 breaks away ^ turning half-way around to R takes a few intle steps to K .(^ 
3). &- finishes on Rf i& 4,', with head bowed &- R arm curved closely over her head 
concealing her face, in an attitude of confusion, her L hand extended down &- back 
Hold (eft 5. 6 ) 2 meas 

Run starting Lf. xA'ith many little steps to P<. almost to the exit, with arms 3rd pos. amp 

R up, &- head looking forward 'ft I, 2>. Still facing the R hop on Rf with Lf extended 

backward (<ft 3) hop again on Kf (d 4' with R arm curved back until the palm is up. 

&■ the head &- trit.nk bent so far backward that the faun can almost see her face Hold 

this position (eft 5, 6* &■ immediately after the 6th <ft run from the stage 2 meas 

8 me."- 

POSITIONS OF THE ARMS 

|st I osition : The arms make a circle in front of the chest at the level of the middle of the chest 

2nd Position : The arms are raised sideways a little belov.- shoulder level 

3rd Position ; The K arm makes a half-circk- over &■ in front of the head &■ the L is in 2nd pos 

Reverse for " L arm in 3rd pos" 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position : The K arm mak€^ a haif-circle over &- m front of the head dr the L is in 1st pos. 

Reverse as above. 
5th Position : Both arms make a circle over &- in front of head. 
Lateral Positions have one arm in 2nd pos &- the other in ht. 



A 



P JV 



f 



>^ 



arrangedi copyrighted, published and for 



sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



3 — Kathar AMnh 
4— Difficult 
i — Duet dMMa. 
f — Group d«nc«, 
•—Sole dtnct. 



NATIONAL. $3 Each. 
I'urUnt. N'enetian esndolitr s eir g 2. 
Galttrellt. Sicili&n d or g 2, 
SUilisno, Sicilian s or g 3, 
Tarantella, Neapolitan s or g 2. 
Tyrollenne, Austrian Peasant d or g 2. 
BoUro. Spanish s or g 4. 
La Maneha. Sfianish s or g 2, 
MadrtleSa. Spanish » i. 
Cachuea, Spanish s or g 3. 
La ?«rta. Spanish s or g 3, 
Ole Qadttano. Andalusian s 3. 
La Oltana, Andalusian s 3. $1. 
La Paloma. Mexican s or g 4, 
Sarabande. OUl French d, er g, 2, 
Pavane. Old French d or b 2. 
AU«mand«. Old French g I. 
Chaeenne. Old French d or g Z 
Qavotte. French s or g 2, 
Oavott* Directolre. Pavlowa's d. 2, $1. 
Minuet de la Cour, For4coupU«. $5. 2. 

fiueea of Swordt. Minuet, 12or8cpl3. 2. 
word Danee, Scotch s, 3, 
Hllhland Fling, Scotch s. 3, 
Pofika, Swedish d or g 2, 
Polonalie. Music only, SOe. g 1, 
Krakowiak. By tilinka; d or g 2. 
Maid-of>Honer. Mazurka s C 
Plyatov4ia, Russian s w, pantomime 2. 
Buatian Quadrille, For S coupler. 2. 
The Bride\ Danee. Buss, pant, and s 2, 
Kaaat«hok, Ruissian peasant d or g 3. 
Donakoi Coaaack Dance, s or g 3. 
C«4rd4a. d or g 3. 
rsSrdil. s or K 3. 
The Magyar. C sirdis s or g 3, 
>\d Hungarian Rhapsody. Cs4rd4j s 4, 
Ca la Breaia. Rumanian s or g 3, 
Satbara. Japanese s or g 1, 



CHARACTERISTIC BALLET. 

$3 Each. 

='ght and Darkneaa. Gr, d, w, panto. 3. 

The Shepherd and the Angel. Panto- 
mime hallet, d, <L 

A Ruaaian Wedding. Ballet tor S, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 1 



BALLET. 
La Fit* it Jardinier, rantomime and 

six danees, $10. 
Christmas Festival Series of Dances, 

Suitable tor a Kirmess. $S. 
^he Sun, or Earth's Awakening. Pan- 

Amime ballet, $10, 
\n Cleoeatra's Court, Panto ballet $10, 



FOLK. $1 Each, 
Note; — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas, Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourrie. UUI French. 2. 
Le Tambourin, Old French. 2. 
Iforlane, Old h'rench, 
FrlcassSe, Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes, Dutch. 2. 
Windmill, Dutch. 3. 
Rustic Dance, Old English. 1. 
Morris Dance, English. 1. 
Maypole Dance, English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel, .\thletic; men or boys. 2. 
Old Welsh Dance, 2. 
Highland Schottische, 2. 
IriSi Lilt, 2. 

Long Dance. Swedish. 1. 
Ring Dance, Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance, Norwegian. 2. 
May Dance, German, I. 
Westphalian Peasant Dance. 2. 
Bavanan Folk Dance. 1. 
Cracovienne. Polish. 2, 
06ralski Tanied, Polish. 1. 
Russian Wave Dance, 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myat41itza). Russian. 1. 
Khorovod (.The Crane). Russian. 1. 
Lujock, Russian. 1. 
Troika. Russian. 2, 
Kolomeika. Russian. Z 
Strai4k. Bohemian. 3. 
Babor4k. Bohemian. 2. 
Ritka. Hungarian, 3. 
Csehbog4r. Hungarian. 1. 
Bulgaiian Folk Dance. I. 
Snake Dance. .\mer. Indian, 1. 
Scalp Dance, Amer. Indian. 1, 



CONTRA, 
Arkansas 

Traveler, 2, 
Beaux of 

OakHai,2. 
Circassian 

Circle,!, 
Flowers of 

Edinburgh. 2. 
The Graces, 2, 
Harvest Home, 2, 
Hewett's Fancy. 1. 
Hull's Victory, 2. 
Windsor 



50c. Each, 
Money Musk. 2. 
Off She Goes. 2. 
Petronella, 2, 
Pop Qoes the 

Weasel. Z 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow, 2 
Three-Hand 
Ring. 2 
I The Tempest 

(t.aTcmpeteV I. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 
$3 Each. 

Wind and Wave, Greek s 3. 

Psyche, Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls, Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance, Greek s or g 3. 

Spirit of Spring, Grk. Interpretive s 3 

Cummer. Greek Interpretive s 2. 

Autumn, Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2, 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s2. 

Hark, Hark, the Larkl(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz, Interp. s or g 3. 

Song of the Robin, Interp. s or g 1. 

Chopin's Walta, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoredce (Dvorik). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER, $3 Each. 
Le Toriador d'Andalousie. s or g 4. 
The Gipsy Camp, Span, tanib. s or g 3 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3 
Stach i Zo£ka. Polish d with panto. 2, 
Russian Court Dance, d 2. 
Wegitrka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. I. 
America. 6 characteristic dances, from 

Indian times to the present, 2 
Bow and Arrow Dance. Male s or g 3. 
La Criole, Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant,3. 



ESTHETIC. 
AUcEretto. s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g J. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $). 
The Fairy Queen, s or g 2. U. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s, or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette, i or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. )3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. fS- 
Valse Brillanta, s or g 3. S3, 

BALLROOM. 

Music and Description, |L 

Furlana. 2. I Minuet Walta. 2. 

I.a Rusae. 1. Sylvia WalU. Z 

The Countess. 2. I Gavotte Walta. 2. 

MazurWaltz.2, 
DESCRIPTIONS of aU the Ballrooa 
Dances, old and new, in their moat 
beautiful, modest, teachable and atana- 
ard form, are published bv the school. 
at $.50 and up. 

MUSIC for the newest ballToinD 
dances, in the pieces most approved l>j 
rs and the public, is carried in stock a" 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK .OF DANCING 

Vol. I. The standard positioas and the 
fundamental exercises. These are do- 
scribed to the minutest detail. «o that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ilL, price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and includi->g all used in thr 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unnscd 
hitherto; engraved. Postpaid. $3.05. 
Grammar of the Art of Dandng. br 
Friedrich A. Zom. An important work 
to the profession. With mnsicftl sup- 
plement, express paid. $10. 



THE CHAUF NORMAl^ SCHOOL OF DANCING ^oSST^JLVlt 



IT IS )o<^aited in New York City, at •} West 42^1 Street, and teaches 
dancing, especially its higher forms, to dancing teachers, eithibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of ohysical training. Its work with 
these classes has met with tr«aaendo«is success. "Chalif dancing" and 
the is^ool which radiates; it have con>e ir«to a North American repu- 
tation, now becoming international. This pt^ularity is du«, we 
should say, to tour factors, which are 

Ut: CRALIF DANCING 

tms is the classic art Uught by the Imperial Ballet Scho<d of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakuting, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated ik» separate branches, but almost aU 
the beauty of the origiital, and quii^ all of its spirit and scope have 
been retained. The result is an art wtuch while allowiia^ «n amateur 
to make rapid progress is yet au^nntic, b,»^urtiful. utterly optivatinsr 
to the student, and tur^Mmore bringing health, kn©-v>led®e of racial 
character, alertness, grawv, and a soul-deep development esttietically. 

The adaptation of Classic dancing has not be«i attnnpted by 
^e Chalif ScJtool only, btit by it w?id» the most ©wt^tanding suc«^!ss, 
especially in tttree piorticulai^ First, tihe use of the lrm> aiad the 
rest of the body has been kept equally important wif^ the use of the 
feet. Second, in NatioiMl, Demi-character and Folk dancing the 
Notimte^ €it»r«Ktt<r of each race is really preservetl, TMindl, a thor- 
ough r^ard is h«^ for idie proprieties, so that altdtough Chalif (*anci(^ 
is in no sense stilted, yet all of it is suitable for offering to aU of the 
Afn«ncan publie^ 

When tam'eh* tf teachers it includes mote than this, bxr aw excel- 
lent training in Pedago^ is furnished. By the time ni graduation 
1^ '^ '"iBi-irv s?<nijide«t is ■» completely equipped teacher of ChaKt am I 
B^'"'>i'r«om dancios, an exh^'biitio'n! ^ncer ai»3 a composer of dances. 



2nd: L. H. CHALIF 

The second factor in the immense success of this School ham 
been the experience and teaching ability of its principaL From 9 
years of age a student in the Iraperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dandng in leading N«w 
York private schools and director of the Chalif Normal School. Iw 
experience has been long, ccmplete and invaluable to Us pi^ils. ... 
A certain ability at teaching has also made die school popular, 
although it has prevented the use oS asastants. ranee it has baan 
f oimd that the students win listen to no one ^e vrtulc tfie pnadyal 
is on the flo<M'. 

3rd: ^LOCATION 

The position of the school in the vqptown tranqportatiaa center 
of New York, "the most popular summer resort in the country." ha» 
helped its enrollment. 

4w:THE MOVEMENT FOR ARTISTIC DANCING 
v^hich is more and tmore ascendant in this country, is the final caoae 
f ~ir the fame of t&e Ch~lit SchsroL Everywhere dicrc is a dcmaiH* for 
tl-c reiU iJlancing, and here one can Ibe trained to teach it. 



COURSES 
Each year during June and July there is a nonnal school wiiSi 
'r-'sses all day, botdi in idhe regular Chalif and Ballraom wocfc and in 
Pamtoisdiise, festival ballets, Toe-danding, etc And <nmtlar sessions. 
are h<tli idludng = ft»rtnig^ of idie Christmas htdidays and on Satur- 
days snd s«iic:ie we^-day aftemoois tfaroa^ioat Ac wiatei. Catalt^s 
I of any of these, or of our dandng teacfaets^ alioe and. aapB^ hoos^ 
I win be sent with pleasure, on application^ 



CHOPIN WALTZ 



IN C Sharp Minor 



AN INTERPRETIUE SOLO DANCE 
Arranged by LOUIS H. CHALIF 



OTHER INTERPRETIVE AND GREEK DANCES BY THE SAME AUTHOR ARE LISTED 
BELOW. THEIR PRICE IS $3.00 EACH. THEV CAN BE PROCURED ONLY FROM 



THE CHALIF 
SCHOOL OF 



NORMAL 
DANCING 



WEST 42nd STREET. NEW YORK CITY. 



Greek Maidens Playing Ball. Very effective. 2. $2. 
Pompeian Flower Girls. Old Roman g. 2. 

Spirit of Spring. Greek Interpretive s. 3. 
Summer. Greek Interpretive s. 2. 

Autumn. Greek Interpretive s. 3. 
Winter. Greek Interpretive s. 2. 
Chopin's Waltz, C sharp minor. Int. s. 3. 
Valse Caprice (Rubinstein). Int s. 3. ■' 

Spring Song (Mendelssohn). Interp. s. 2. 
Chopin's Waltz in D flat. Interp. flower d. 
The Blue Danube Waltz. Interpretive s. or g. 
Hark, Hark, the Lark I (Schubert). In. s. 3. 

^ Light and Darkness. 



Cleopatra's Dance. Oriental Int. s. or g. 2. 

The Moon Dance. Oriental Interpretive a. or g. 2. 

Psyche. Interpretive s. or g. 2. 

Song of the Robin. Interp. s. or g. 1. 

The Song of the Robin. Interp. s. or g. 2. 

Blue Danube Waltz. Interp. s. or g. 3. 

Humoreske (Dvoi^ak). Greek l 3. 

Wind and Wave. Greek 9. 3. 

Cymbal Dance. Greek s. or g. 3. 

Forest Spirits. Greek. For 12 young women. 2. 

Barcarolle from "Hoffmann." Greek s. 3. 

Moment Musical. Greek s. 2. 



Greek duet with pantomime. 3. 



See Back Cover For Explanation of Abbreviations and List of Other 
Dances by the Same Author. 

COPyRIGHT 1915 BY LOUIS H. CHALIF. 



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Chopin 

IN C SHARP MINOR 
INTEKPKETIVE SOLO DANCE 
' somewhat difficult, by 

LOUIS H. CHALIF 

QThe movement of the dance alternates between slowness &■ quickness, between dreaminess 
&- vivacity. QThe costume should be Greek. 

Ml. if 
The music is played With moderate slowness. 

Step Rf to side (,ct 1), step Lf behind R heel Cct 2), step Rf in place (ct 3), &- repeat 
same to L (.cts 4, 5, 6). This is somewhat like a backward pas de Basque in place. The 

arms are 3rd position with L arm up £r same with R up &- trunk bends far to L &- R. 2 meas. 

Slide hop diag. forward R on Rf (cts 1, 2, 3), &- 4 little running steps in same direction 
finishing on the ball of Rf with Lf raised behind (cts 4, 5, 6). The arms are 3rd pos, 
amplified &- finish in 5th pos. 2 meas. 

Kepeat same to L ■• 4 meas. 

Dance in an extremely small circle to R as follows: Slide hop on Rf to R side raising the 
arms slowly sideward until they are extended diag. upward like opened wings (cts 1, 2, 3), 
&- take 3 small steps ( L, R &- L~) turning half way around to K, &- lower the arms to 1st pos. 
(ds4. 5, 6) 2- meas. 

Repeat same, this time doing slide hop with the back to the audience, &- finishing facing 
audience 2 nieas. 

Step on Rf to R side with arms in 3rd pos. amp. R arm up, &- pause as if preparing to 



run to R, then turning suddenly to L run to L in a semi'circle back &- to center of stage with 
arms in 3rd pos. amplified, L arm up, &- finish by stepping Lf across in front of Rf on the 1st d 
of the laist meas. &- pausing while moving the arms slowly to 5th pos. &- bending the 
trunk to L ■/, • 4 meas. 

Kepeat from beginning 16 meas. 

32 meas. 

, ■ mi.^ 

The music is to played very fast. 

Move diag. forward R with 4 skipping steps in time to the music (I to each meas.), 
lifting the knees forward sharply bent each time. The R arm is extended forvv'ard &- L 
arm back &- the shoulders face forward, making a twist of the trunk 4 meas. 

Turn in place 2 or 3 times around to R with many little steps. The arms are 5th pos. 4 fneas. 

Kepeat all diag- forward L, diag. forward R, &- diag. back to L 24 meas. 

32 meas. 

The music is played slowly again. 

Moving diag. forward R, step Rf forward &- hold (cts I, 2, 3.) step L across in front of 
Rf &- hold (cts 4, 5, 6), &- run with several little steps, finishing with a hop on Rf (2 meas.). 
The arms are 1st pos. (1st meas.), 3rd pos. amp. with R arm up, chest much elevated, 
head thrown back, trunk twisted (2nd meas.) and finish in 5th pos. (4th meas.). The 
attitude in the 1st meas. is merely a preparation for the strong pos. reached in the 2nd 4 meas. 

Repeat all diag. forward to L ,-. , 4 meas. 

Move backward &- turn once around' to R with step on Rf making a pivot turn on the ball 
of it (cts I, 2. 3), finishing the turn with 3 little steps (L, R &- L''--4, 5, 6). The arms are 
4th pos. with R arm up, on 1st meas. &- 2nd pos. on 2nd meas 2 meas. 

Kepeat same r 2 meas 

Step on Rf with arms in 3rd pos. amplified, palms down, R arm up, as if preparing to 

run to R, then turn suddenly &- run in a small semi'circle backward to L to center of 

stage, with arms in 3rd pos. amp. L arm up. Finish by stepping Lf across in front of R.f 

&- raising the arms to 5th pos 4 meas. 

Kepeat from the beginning of 111 but this time run so as to finish in center of stage 16 meas. 

32 meas. 



Moving CO R side, slide hop on Rf, turning to R take 3 little steps to complete the turn (6 ctS"2meas.) 
aind repeat same (2 meas). Throughout the arms are in 1st pos. palms down, with the first 2 fingers 
of the two hands interlocked, k is highly important that the elbows be well lifted, to 
make a smooth circle with the arms. On each slide hop the trunk &- head are thrown 
back &- to L to look toward the audience, and she arms in their circular pos. are tossed a 

little upward, afterward, on the 3 steps, they sink to 1st pos. again 4 meas, 

Slide hop on Rf to R side (cts I, 2, 3), step Lf to L side (cts 4, 5), &■ step Rf beside Lf 
»n 1st pos. (d 6). On slide hop the arms make 2 parallel lines diag. forward fr upward 

on R side 2 meas 

Repeat same starting Lf to the L side but making 3 little steps instead of 2 on the 2 meas. 2 meas 

Repeat from the beginning of IV starting Lf &- moving to L side 8 meas. 

Repea! the first 14 meas. of the above,. 14 meas. 

Run, starting Rf, with many little steps so center of stage and finish on the last note of 
music on the bail of Rf, side to the audience. Lf lifted backward, R i-sm straight up, L 
arm in 2nd pos., &- head u- trunk thrown far back. Or. for an easier closing attitude allow 

the toe of Lf to rest, on the floor. 2 meas. 

3 2 meas. 
EXPLANATION OF TERMS 
1st Position ; The arms make a circle in front of the chest at the level of the middle of the chest 
2nd Position : The arms are raised sideways a little below shoulder level. 
3rd Position : The K arm makes a half'Circle over 6- in front of the head &- the L is in 2nd pos. 

Reverse for " L arm in 3rd pos-" 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Pos:tion The K arm makes a half-circle over &- in front of the head &- the L is in 1st pos 

Reverse as above. 
5th Position : Both arms make a circle over &- in front of head. 
Lateral Positions have one arm in 2nd pos. &- the other in 1st. 

Step Swing means step on one ft, swing the other ft. forward &- at the same time hop on the 1st ft 
Step or Slide Hop is to step on one ft &■ then hop on it lifting the other ft backward. 
Slide Step Step Hop demands that the free ft be lifted backward. 
Slide Step Step Swing demands that the free ft be lifted forward. 

Pas de Basque is a semi-circle with Rf &- leap Rf to R side (d I), slide Lf forward in 
front of Rf ( d2) &■ bring Rf up behind Lf cutting Lf out forward (d 3\ 




11 



DANCES BY LOUIS -'H. CHALIFo 



The following list of dances composed o.' 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABEREV:AT1<J^ 

-Easy. 



.ittle difficulty, 
3 — Rather difficult. 
4 — Difficult, 
d — Duet dance, 
g — Group dance, 
s— Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella, Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella, Neapolitan s or g 2. 
Tyrolienne, Austrian Peasant d or g 2. 
Bolero, Spanish s or g 4. , 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca, Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano, Andalusian s 3. 
La Gitana, Andalusian s 3. $1. 
La Paloma, Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane, Old French d or g 2. 
Allemande, Old French g 2. 
Chaconne, Old French d or g 2. 
Gavotte, French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance, Scotch s. 3. 
Highland Fling, Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise, Music only, 50c. g 1. 
Krakowiak, By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille, For 8 couples. 2. 
The Bride's Dance, Russ. pant, and s 2. 
Kasatchok, Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas, d or g 3. 
Csardas, s or g 3. 
The Magyar, Csardas s or g 3. 
2nd Hungarian Rhapsody, Csardas s 4. 
Ca la Breaza, Rumanian s or g 3, 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness, Gr. d. av. panto. 3. 

The Shepherd and the Angel, Panto- 
mime ballet, d. 2. 

A Russian Wedding, Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior, Indian duet pantomime 
and dance, in 3 parts. 2. 

BALLET, 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances, 

Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening, Pan- 
tomime ballet. $10. 

In Cleooatra's Court, Panto, ballet. $10. 



FOLK, $1 Each, 
Note: — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas, Spanish, 3, 
Zorongo, Spanish. 3. 
Farandole, Provengal, 1, 
Tourdion, Old French, 2, 
Bourree, Old French. 2, 
Le Tambourin, Old French. 2. 
Forlane, Old French. 
Fricassee, Old Fr. Soldier Polka. 2. 
Norman Folk Dance, Old. 2. 
Wooden Shoes, Dutch. 2. 
Windmill, Dutch. 3. 
Rustic Dance, Old English. 1. 
Morris Dance, English. 1. 
Maypole Dance, English. 1. 
Thanksgiving or Festival Dance, 2. 
The Wheel, Athletic; men or boys. 2. 
Old Welsh Dance, 2. 
Highland Schottische, 2. 
Irish Lilt, 2. 
Long Dance, Swedish. 
Ring Dance. Swedish. 
First of May, Sw. 50c. 
Mountain Trio Dance, 
May Dance, German. 1. 
Westphalian Peasant Dance, 2. 
Bavarian Folk Dance, 1, 
Cracovienne, Polish. 2. 
Goralski Taniec, Polish. 1. 
Russian Wave Dance, 1. 
Pletyonka, Russian, 1, 
Snow Storm (Myatelitza). Russian. 
Khorovod (The Crane). Russian. 
Lujock, Russian. 1, 
Troika, Russian. 2. 
Kolomeika, Russian. 2. 
Strasak, Bohemian. 3. 
Baborak, Bohemian. 2. 
Ritka, Hungarian. 3. 
Csehbogar, Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance, Amer. Indian. 1. 
Scalp Dance. Amer, Indian, 1. 



1, 



w. folk song. 
Norwegian, 



CONTRA, 

Arkansas 

Traveler, 2. 
Beaux of 

Oak Hill, 2, 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh, 2. 
The Graces. 2. 
Harvest Home, 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella, 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy, 1. 
Soldier's Joy, 1. 
Speed the Plow, 2. 
Three-Hand 

Ring, 2. 
The Tempest 

(La Tempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2, 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball, Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3, 

Spirit of Spring. Grk. Interpretive s 3. 

Summer, Greek Interpretive s 2. 

Autumn, Greek Interpretive s 3. 

Winter, Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance, Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann," Grk. s 3. 

Spring Song (Mendelssohn), Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz, Interp. s or g 3. 

Song of the Robin, Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvoi^ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER, $3 Each. 
Le Toreador d'Andalousie, s or g 4. 
The Gipsy Camp. Span. taml). s or g 3 
The Andalusian Gipsy, Spanish s or g 3. 
The Beauty of the Alps, Tyrol, s or g 2. 
Jean et Jeannette, French d 2. 
The Joy of the Rose, Pierrot pant, k 2. 
Columbine, French s or g 3. 
The Village Belle, French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper, Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid, Polish s or g 3. 
White Rose Mazurka, Polish s or g 3. 
Stach i Zoska, Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi^rka, Hungarian Military d 2. 
The Hussar, Hungarian Char, s or g 2. 
Japanese Group Dance, 8 or 16, $2. 1, 
America, 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole, Characteristic s or g 3. 
The Cherry Blossoms, Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4, $3, 
Bluette Polka, s or g 3. $3, 
Esthetic Waltz, s or g 2. $2, 
Eugenie Onyegin, Waltz s or g 3, $3, 
The Fairy Queen, s or g 2, $3, 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3, 
Little Fairy Snowflake, s. or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette, s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour, Waltz time g 3. $3, 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2, 
Polka Miniature, s or g 2. $3, 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3, 
Valse Brillante, s or g 3, $3, 

BALLROOM, 

Music and Description, $L 

Furlana, 2. I Minuet Waltz. 2, 

La Russe, 1. Sylvia Waltz, 2, 

The Countess, 2. I Gavotte Waltz. 2, 

MazurWaltz. 2, 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents uo, 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and Ae 
fundamental e-xercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and includin.g all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05, 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAL. SCHOOL. OF DANCING ^ ^^^ ^°''*' 



Concerning- It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training;. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr, Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated ixs separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art wtiich while allowing an amateur 
to make rapid progress is yet authentic, b,-autiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it "'-th the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 



2nd: L, H, CHALIF 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment, 

4tri: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School, Everywhere there is a deman<^ for 
tl-< real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
c--3ses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and som.e week-day afternoons throughout the winter. Catalogs 

->f tVipsp. Qr_r>f..jnr rlanring fe:ir 



im: 



CLEOPf)TRf)*S DANCE 

ORIENTAL INTERPRETIUE 
SOLO OR GROUP DANCE 

By LOUIS H. CHf)L(F 

other (nterpreitive and Greek dances by the same author are listed below. 
Their price is S3 each. They can be procured only from 

The CHALIF NORMAL 
SCHOOL of DANCING 

7 WEST 42ND STREET. NEW YORK 



Chopin's Waltz, C sharp minor. Int. s. 3. 
Valse Caprice (Rubinstein). Int. s. 3. 
Spring Song (Mendelssohn). Interp. s. 2. 
Chopin's Waltz in D flat. Interp. flower d. 
The Blue Danube Waltz. Interpretive s. or 
Hark, Hark, the Lark! (Schubert). In. s. 3. 
Cleopatra's Dance. Oriental Int. s. or g. 2. 
The Moon Dance. Oriental Interpretive s. o 
Psyche. Interpretive s. or g. 2. 
Song of the Robin. Interp. s. or g. 1. 
The Song of the Robin. Interp. s. or g. 2. 
Blue Danube Waltz. Interp. s. or g. 3. 



Humoreske (Dvorak). Greek s. 3. 

Wind and Wave. Greek s. 3. 

Cymbal Dance. Greek s. or g. 3. 

Forest Spirits. Greek. For 12 young women. 

Greek Maidens Playing Ball. Very effective. 2. 

Spirit of Spring. Greek Interpretive s. 3. 

Autumn. Greek Interpretive s. 3. 

Pompeian Flower Girls. Old Roman g. 2. 

Winter. Greek Interpretive s. 2. 

Summer. Greek Interpretive s. 2. 

Moment Musical. Greek s. 2. 

Barcarolle from "Hoffmann." Greek s. 3. 



SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF OTHER DANCES BV THE SAME AUTHOR 



Copyright. 191 



by L u i 



H . C h a I i f 



Cleopatt^a's Danee. 



Introduction. 
Allegretto con fuoco(J-= eo) 



Arr. by Louis H.Chalif. 



Piano 




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Cleopatras Dance. 4 



Cleopatra's Dance 

AN ORIENTAL SOLO OR GROUP DANCE 
Of medium difficulty, 

by 
LOUIS H. CHALIF 



Q The dance should express the langor of the East, dr hence requires the greatest rcp)ose. The 
dancer must be utterly relaxed to produce this effect. But yet there must be a strong accent. ({ The 
attitudes should be taken without exaggeration, &- the arms should be perfectly free. If they be stif' 
fened they will look angular in the poses, but if relaxed the movements will be sinuous, &- the poses 
will present a pleasing eccentricity. (\ The slow steps of the dance should be taken in a way that is 
full of life, but subdued. Step on the balls of the feet first, then lower the heels, and go into the 
swing of the music with the feet, arms &• body. 

1 !. ^ 

Dancing for Anthony. 

Step Rf diag. forward R &■ swing Lf forward with knee lifted high &- sharply bent. At the same 
time hop on Rf (db I, 2, 3), step Lf forward &- hop raising Rf with knee sharply bent &- turned out 
to side, so that the foot almost touches the L knee (ds 4, 5, 6). The hands are closed to imitate a 
snake's head, the L arm is curved above the head &■ the R is about 12 inches lower than the L, 
&■ similarly curved I meas. 

Step Rf diag. forward as if falling into it, allowing the knee to bend, 6- extend Pv hand in the same 
direction, as if the snake were reaching out its head (ds I, 2, 3), step Lf back (efts 4, 5) fir step Rf 
back (d 6). The asms are in the same pos J meas. 

Pvepeat all to L 6- R 4 meas 



Turn in place to L once around with a pivot turn, thus: Drop onto Lf, (i. e., land on the toe first &■ 
then lower the heel &■ bend the knee slightly (ds 1,2), step on R toe behind L heel (d 3), &- repeat 
same 3 times more. There is an accent on each step of Lf. The arms are 5th pos. with palms out 
&- with the fingers almost touching 2 meas. 

Repeat all 8 meas. 

16 meas. 

w II. m 

Coquetry. 

Step P\f to L side across in front of Lf (ds 1, 2), step Lf in place (d 3), 6- step Rf across in front 
of Lf again (ds 4, 5, 6). The L hand touches the forehead with the finger'tips, the palms being 
turned down.. The R arm is in 2nd pos. with the hand lifted so that the palm is turned out. The 
head looks diag. forward L 1 meas. 

Step Lf in place (ds I, 2, 3) &■ step Rf to side (ds 4, 5, 6). Both arms are extended diag. forward 
to L, parallel &- shoulder'high. The head looks K 1 rr^as 

Repeat all starting with L, R ^ L feet 6 meas, 

8 meas. 

m III. m 

Love. 

Step Rf to L side across in front of Lf 6- bring the hands toward the chest with palms in (ds 1, 2, 
3), step Lf diag. forward to L side bending the knee slightly 'i. e., fall onto Lf) &- extend the hands 
diag. forward L at shoulder level with palms out after making small circles with the hands by turning 
the palms down (ds 4, 5, 6). The meaning for this meas. is: "My heart goes out to you". .1 meas. 

2 slow steps moving diag. backward toward R side (R &- L; ds 1-6 ). The arms are extended diag. 
forward to L at shoulder level with palms out, &- the head looks toward L , I meas. 



Step Rf to side"(d:s I, 2, 3), &- step Lf across in front of R ft with a bend of the L knee (cts 4,5,6). 

1 meas. 

2 slow steps diag. backward toward L (R &- L; cts 1'6). The arms for these last 2 meas. 

are the same as for the 2 preceding, but are toward the R side I meas. 

Repeat all - ^ meas. 

8 meas. 

lU. 

Haughtiness 
Step Rf to R side ( cts 1,2 ), step L toe behind Rf in 4th pos. ( ct 3 ), &- step Rf in place 
cts 4,5,6 ). This similar to a slow backward pas de Basque in place. The L arm is extended 
straight upward with palm up &■ the R is in 2nd pos. with palm out 1 meas. 

2 slow steps toward L ( L &- R; cts 1'6 ). The L arm is a little above 2nd pos, the palm out 
&- the fingers of the R hand almost touch R shoulder 1 meas. 

Repeat all, staning L , R &- Lf 6 rreas. 

8 meas. 

u. 

Langor and Happiness. 
The rhythm of the music has changed to 2 cts in a meas. 

Step Rf to side, step Lf in front of R rising on the toes of both, &- step back onto Rf 
This is similar to a forward pas de Basque in place, &■ is done to 4 cts. The arms are a little 
above 2nd pos. &- wave once in time to the music-or greater detail raise the arms from the shoulder, 
bend at the elbows slightly &■ gradually straighten, in 4 cts 2 meas. 

Repeat to L • • 2 meas 

Move diag. forward R step swing twice ( R &- L; cts l'4 ), raising the knee forward each time 
sharply bent 2 meas 

Step Rf forward in same direction &- hop 3 times, raising L knee to the side, the foot almost touch 
ing R knee ( cts 1-4 ). The arms are the same as for the 1st meas. of Fig. 1 2 meas. 

Repeat all but the last meas starting Lf Finish with 1 hop only on Lf 7 meas. 

15 meas. 



Starting Rf turn in place (or moving a very little to the R) once around to R with 2 groups of 3 little 
steps (ds I and 2, 3 and 4). Start Rf. (This is something like a waltz turn. The 2nd step is 
taken in 5th pos. behind each time). The arms are 5th pos. with palms up, &- the trunk &■ head are 
bent to L on ds I, 2, 6- to 2nd pos. &- the trunk bent to R on ds 3, 4 2 meas. 

Balance forward starting Rf. i. e. step on Rf, bring Lf up to Rf, rise on the toes 6- lower the heeb 
(ds 1 and 2 '. The arms are 5th pos. &- the trunk is bent back. Balance back starting Lf (ds 3 
and 4), with arms in a very low 2nd pos. 6- as far back as possible, palms down, 6- the trunk bent 
forward 2 meas. 

Repeat all 4 meas. 

Turn in place to K very fast with many steps, making as many turns as possible, stepping on the 
whole of the Rf &- the toe of Lf just behind R heel. The arms are 5th pos., palms up. Continue 
turning until the last chord of the music, on which step forward decisively on Rf, with knee straight, 
elevating the chest as much as possible &■ bringing the arms down past the front of the chest, start' 
ing with the hands, palms in, in front of the face, then down beside the cheeks, finishing with both 
arms in a very low 2nd pos., as far back as possible, palms dovA/n &- hajids bent back, so that the 
palms are parallel with the floor. From 5th to this closing pos. the movement should be quick &- 

continuous 9 meas. 

17 meas 

THE FIVE POSITIONS 

1st Position: The airms make a circle in front of the chest at the level of the middle of the chest. 

2nd Position: The arms are raised sideways a little below shoulder level. 

3rd Position: The K arm makes a haif'circle over &■ in front of the head £r the L is in 2nd pxK. 

Reverse for "L arm in 3rd pos," 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4 th Position: The K arm makes a half 'Circle over &- in front of the head and the L is in 2nd pos. 

Reverse as above. 
5th Position: Both arms make a circle over and in front of the head. 



A 




r 



DANCES BY LOUIS H. CHALIF. 



The [oUowing list of dances composed o/ 
arranged, copyrighted, published and for 
sale only by Louis H. Chaiif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIOna 

1— Easy. 

2— Of a little difficulty. 

3— Rather difficult 

4— Difficult. 

d— Duet dance. 

g — Group dance. 

s— Solo dance. 



$1. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or s 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, SOc. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas, s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the AngeL Panto- 



liallct, d. 2. 



for 8, 12 



A Russian Wedding. Balh 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET, 
La i^ete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note:— The numerals used with the 
Polk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
i'orlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 
Long Dance. Swedish. 
Ring Dance. Swedish. 
First of May. Sw. SOc. 
Mountain Trio Dance. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm { Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



1. 

w. folk song. 1. 
Norwegian. 2. 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2, 
Windsor 



SOc. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(LaTempete).l. 
Terrace. 2. 



THE CHALIF NO! 

IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chaiif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming ipternational. This popularly is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chaiif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated a? separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art wtiich while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chaiif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chaiif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the Mme of graduation 
the ordinary student is a completely equipped teacher of Chaiif and 



GREEK AND INTERPRETIVE. - 
$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Qld Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvoi^ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3, 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. . $2. 
Eugenie Onyegin. Waltz s or g 3. $3. 
The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: iSance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $L 

Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chaiif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. .\n important work 
to the profession. With musical sup- 
plement, e-xpress paid, $10. 



A. Few 'Words 
Concerning It 



2nd: L. H. CHALIF 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chaiif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has beea 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4t!i: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cauie 
for the fame of the Chaiif School. Everywhere there is a deman'' for 
t\T<t real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
c'r-sses all day, both in the regular Chaiif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and som.e week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house. 



COLA SERBIANKA 

SERBIAN FOLK DANCE 

Arranged by LOUIS H. CHALIF 

Price $1. Other Folk Dances, at the same price, arranged 
by Mr. Chalif are listed below. They can be procured only from 

THE CHALIF NORMAL 
SCHOOL OF DANCING 

7 WEST 42ND STREET. NEW YORK 



Zorongo. Spanish. 3. 
Manchegas. Spanish. 3. 
Fricassee. Old French Soldier Folks. 
Bourree. Old French. 2. 
Tourdion. Old French. 2. 
Forlane. Old French. 2. 
Farandole. Provencal. 1. 
Le Tambourin. Old French. 2. 
Norman Folk Dance. Old. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3, 
Bavarian Folk Dance. 1. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Mountain Trio Dance. Norwegian. 2 
Thanksgiving or Festival Dance. 2. 
Long Dance. Swedish. 1. 



First of May. Swedish. 50c. With folk ; 
Ring Dance. Swedish. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Khorovod (The Crane). Russian. 1. 
Snow Storm (Miatelitia). Russian. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Troika. Russian. 2. 
Lujock. Russian. 1. 
Kolomeika. Russian. 2. 
Stras^k. Bohemian. 3. j! 

Baborak. Bohemian. 2. p 

Ritka. Hungarian. 3. 
Csehbogir. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
The Wheel. Athletic, for men or boys. 
Scalp Dance. Amer. Indian. I. 
Snake Dance. Amer. Indian. 1. 



3ng. 1 



SEE BACK COUER FOR EXPLANATION OF ABBREUIATIONS 
AND LIST OF DANCES BY THE SAME AUTHOR 

Copyright. 1915. by Louis H. Chalif 



COLA SERBiANKA 



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COLA SERBIANKA 

SERBIAN FOLK DANCE 
Very simple, arr. by 
LOUIS H. CHALIF 

There are no couples in the dance, & any number of people may take part. 
The formation is a single circle, all facing inward with joined hands. The name 
means Serbian Village. The music is counted 1, 2 to a meas — when 4 counts are 
referred to a 2nd meas is meant. 

I. 

All step Rf to side (ct 1), step Lf beside Rf (ct 2), step Ri to side 
again (ct 3), & brush L heel on the floor in front of Rf, finishing with Lf lifted 
a few inches from floor & R knee bent slightly (ct 4). 

2 meas 
Repeat 3 times more, starting to L, R & L alternately . . 6 meas 

8 meas 
II. 

All move sideways to the R with: Step Rf to side (ct l),stepLf behind Rf 
bending both knees slightly (ct 2), & repeat for 12 times in all '. . . 12 meas 

Repeat I .......... 8 meas 

III. 

All turn to face R, still with hands joined. 

Step Rf forward (ct 1), & brush L heel forward (touching the floor). 

Repeat 12 times in all . . . . ... 12 meas 

Repeat I . . . . . . . . . 8 meas 

IV. 

Take 24 running steps [1 step to 1 ct] sideways to R, starting Rf, each time 
stepping Lf behind Rf. . . . .... 12 meas 

Repeat from the beginning if desirable. 



D'AMCE^ 



LOUIS -e. C.HALIF. 



The £uilovving lisit of dances ooinoosed o^" 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 

NATIONAL. $3 Each. 
Ifiirlana. Venetian gondolier s or g 2. 
Slaltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish 5 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g ,3. 
Ole Gaditano. Andalusiaii s 3. 
La Gitana. Andalusian s j3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
AUemande. Old French g 2.. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2, 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5, 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch i 3. 
Hishland Fling. Scotch s. 3. 
Folska. Swedish d or g 2. 
Polonaise. Music only, SOc. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-o£-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomiine 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian p'easant d or g 3. 
Donskoi Cossack Dance. 3 or g 3. 
Csardas. d or g 3. 
'"sardas. s or g 3. 
The Magyar. Csardas s or g 3. 
."lid Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



1— Kasy. 

2— Of a little dif&cuity. 

3 — Rather difficult, 

4— Difficult. 

d — Duet danco. 

g — Group dance. 



-Solo dancs. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pan- 

-oniime ballet. $10. 
In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note': — The numerals used with th 
Folk and Contra dances denote muc' 
easier grades than in other categories 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. .Athletic; men or boys. ; 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 
Long Dance. Swedish 
Ring Dance. Swedish. 
First of May. Sw. SOc. w. folk song. 1. 
Mountain Trio Dance. 
May Dance. German. 1. 
Westphalian Peasant Dance. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza) 
Khorovod (The Crane) 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Stras^k. Bohemian. 3. 
BaborSk. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian 
Scalp Dance. Amer. Indian. 



1. 
w. folk song. 
Norwegian. 



Russia 
Russian. 



1. 



CONTRA, 

Arkansas 

Traveler. 2. 
Baaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



SOc. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1 . 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

fLa Tempete). 1. 
Terrace. 2. 



^C] 



GREEK AND INTERPRETIVE. 
$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2, 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3, 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's -Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3, 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, t 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3, 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. f 

Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant.2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka. 6 or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyejin. Waltz j or s 3. )j. 
The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. 
Little Fairy Snowflake. s. or g. 1 
Midsummer Night's Dream: Dane* o: 

the Fairies. 12 or 24 girls. 1. i 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1-. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet WalU. t. 

La Russe. 1. Sylvia W«lti. 2. 

The Countess. 2. | Gavotte W«lt«. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom' 
Dances, old and new, in thsir mosi' 
beautiful, modest, teachable and stand- 
ard form, are published by th<* »chool 
at $.S0 and up. 

MUSIC for the newest ballrcoM 
dances, in the pieces most approved bj 
us and the public, is carried in jtock at 
prices from 2S cents ut5. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and Ihi 
fundamental exercises.' Thete are d«- 
scribed to the minutest detail, »o th»l 
the book is useful alike to the stud»nt 
who has no teacher, or the best te; 
ers. 171 pp., ill'., price postpaid, $2.50, 
Music for the Classical Exercises foi 
Technique, a« described in the T«xl 
Book, and including all used ir 
Chalif School. Third edition: a ntn 
collection of 47 beautiful pieces, unuse( 
hitherto; engraved. Postpaid, $3.05, 
Grammar of the Art of Dancing, fc) 
Friedrich .A. Zorn. An important wor 
to the profession. With musical sup- 
plement, express paid, $10. 



¥ T IS located in New York City, st j West .pnd Street, and leaches 
I dancing, especially its higher forms, to dc;nciug teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dajicing" and 
the school which radiates it have come into a North American repu- 
tation, no,w becoming international. This popularity is due, we 
should say, to four factors, which are 

I 1st: CHALIF DANCING 

'Z'ttis is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated i»s separate branches, but almost all 
the beauty of the original, and quit." all of its spirit and scope have 
been retained. The result is an art which wh''^ Fillc-^-n.ia- an amateur 
to make rapid progress is yet authentic, b^aut'fu!. utterly ci^tivatinc 
to the student, and furthermore bringing he?jth. kno ' ted'e of r^fi^l 
character, alertness, grac.^, and "^ soul-deep dei'elonn-ent estheticallv 

The adaptation of Classic dancing has not been attempted by 
the Ch.5lif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Anns and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Derr'i-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, no that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When tauoht t:? teachers it includ-33 more than this, for an ex'-el- 

lent training in Pedagogy is furnished. By the time of graduatiois 

the ordinary student is a completely equipped teacher of Chalif an 1 

_ Bjllr^om dancing, an exh-bition dancer and a composer of c'ances. 

ordmary student is a completely eqmppea teacner tM'v.,naiii anu i ^-^ 



A Few Words 
Concerning It 

2nd: L, H. CHALIF 

The second factor in the immense success of this School ha« 
been the experience and teaching ability of its principal. From g 
years of age a student in the Imperial Ballet School of Russia, in 
Moscov.', then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, hi* 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has b»«ii 
found that the students will listen to no one else while the priiici 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation cente^ 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4w: THE M O V E I,: " N T FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final caus< ; 
fcr the fam.e rl the Chalif Schoci. Svervwhere there is a dem.an'^ fw 
tl"-- real dancing, and here one can be trained to teach it. 

cou'::jses 

Each year during June and July there is a normal school witl 
r-'3SCB sil day, both in the regular Chalif and Ballroom work and in 
PantorKime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur 
nays end uome v/eek-day afternoons throughout the winter. Cjtalogi 
of any of these, or of our dancing teachers' shoe and supply house 
will be sent v./ith pleasure, on application. 



iiiHJiiJii 



COLUMBIN[ 
THECHALIFiMORMAL SCHOOL OF 

DANCING 

DAMI - CHARACTER J5ANCES 

THE ANPALUSI AN GIPSY <So/^ 

TAMBOURINE -i"^ -•-.;'^ ^a/^ca^ 

L'AUTOMNE /Sacchana/ 

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THE COUNTESS 

A NEW BALLROOM Df^NCE 
f)rr'd by LOU(S H. CHALIF 

PRICE ONE DOLLAR FOR SALE N L y BY 

THE C H A L ( F NORMAL 
SCHOOL OF DANCING 

7 WEST 42ND STREET.. NEW YORK 

SEE BACK COUER FOR "LA RUSSE" "FURLANA" AND DESCRIPTIONS OF ALL 
THE UERY LATEST EUROPEAN BALLROOM DANCES, ALSO MANV OTHER DANCES 

W !f;tfi!fi!fitfi»!fiifiifiifibHtfi!fi!fi!li!fi!fiyi S 
COPYRIGHT 191CBY LOUIS H. CHALIF 



The Countess. 



Tempo di Gavotte 

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Arr. by Louis H. Chalif, 



Piano. 




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The Countess 



BALLROOM DANCE, 

Rather Easy, by 

LOUIS H. CHALIF 

^ I. ^ 
Begin facing partner with inside hands joined. The gentleman's part is described"the lady's 
IS opposite. 
Gentleman move toward L, beginning Lf, Slide Lf to side, bring Rf up to Lf, step Lf to side again, 

&■ point Rf in front 1 4th position ) (ds I, 2, 3, 4) 1 meas. 

Still facing lady. Step P^f to side &- bow, the lady courtesying 1 meas. 

Change places, facing forward, lady passing in front of gentleman. Gentleman begins Rf &- moves 
to the R with. Slide step L step R &- point Lf While doing this cross over to lady's side turning 

half'\^'ay around to L so as to finish facing lady • I meas. 

Step to L side and bow. lady courtesying 1 meas. 

Balance £r go back to place. Gentleman presents his L hand 6- lady gives her R. Balance toward 
each other &- balance back, gentleman beginning Lf Balance in this dance is, for Lf: Step Lf to 
side (dl I), &■ bring Rf to Lf in 1st position &■ rise on the toes, 'xt 2 ), Baiarice is done similarly wtth 

the Rf, or forvv'ard or back I meas. 

Return to original place with a 3 step turn, gentleman beginning Lf &■ lady Rf I meas. 

Step to K side &- balance (ds I, 2', &- turn completely around to L side with 2 steps (L &- R) (ds' 
3, 4), Step to L side &- bow (ds !, 2. 3, 4) 2 meas 

E II. M 

Partners are side by side, facing forvv/ard, with inside hands joined. They move forward around 

the room, gentleman beginning Lf with Slide step step &- swing Rf forward I meas. 

Step Rf forward &- leave Lf behind slightly bent, rise on the toes of Rf step Lf back leaving Rf in 

front slightly bent, &- rise on the roes I meas. 

Repeat all. beginning Rf but progressing around the room m the same direction as before 2 rneas 
Boston waltz 6 times, the gentleman starting Lf back Step to L side ir bow 4 meas 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed o.^ 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBRbVIAllUnS 

I— Easy. 

2— Of a little difficultj 

3— Rather difficult 

4— Difficult. 

d— Duet dance. 

g — Group dance. 

fl^Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4, 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavarie. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Sw^ords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
1 La Fete de Jardinier. Pantomime and 
six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a KirmeLS. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet, $in. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note:— The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
ii'orlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm ( Myatelitza). Russian. 1. 
Khorovod l^The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance, .^mer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2, 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

|LaTempete).l. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s2. 

Hark, Hark, the LarkUSchubert). In.s3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp, s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEXI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g ,' 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s T 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic, ladu!; 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with pa;no. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hu;-.garian Char s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 cliaracteristic dance;, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $3. 
The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream; Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. | Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents up. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

\'ol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAl. SCHOOL OF 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quit" all of its spirit and scope have 
been retained. The result is an art which while allowing: an amateur 
to make rapid progress is yet authentic, beautiful, utterly c^ptivatine 
to the student, and furthermore bringing health, knowled?e of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chahf and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



DANCING 



2nd; L. H. CHALIF 



A. Feiv ^Words 
Concerning It 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd; LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame cf the Chalif School. Everywhere there is a demani^ for 
tl--; real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
c-sses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



LA CREOLE 

CHARACTERISTIC SOLO OR GROUP DANCE 

By LOUIS H. CHALIF 



Other Characteristic and Demi-Character dances by Mr. Chalif are listed be(ow. 
Their price is Three dollars ($3.00) each, and they can be procured only from 



The CHALIF 
SCHOOL Of D 

7 WEST 42ND STREET 



R M A L 
N CI N G 

NEW YORK 



The Village Belle. French s or 3 2. 
The Beauty of the Alps. Tyrol, s or g 2. 
The Andalusian Gipsy. Spanish s or g 3. 
The Gipsy Camp. Span. tamb. s or g 3. 

Le Toieador d'Andalousie. s or g 4. 
Jean et Jeannette. French d 2. 
The Village Belle. French s or g 2. 
Columbine. French s or g 3. 
The Joy of the Rose. Pierrot panto, s. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Charic. 1 adult & g 

of children. 
The Polish Princess. Polish s or g 3. 



Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char'ic. s or g. 
Japanese Croup Dance. 8 or 16. $2. 1. 
America. characteristic dances, from 

Indian times to the present. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s. or g. 
The Cherry Blossoms. Jap. d w. panto. 



SEE BACK COUER FOR EXPLANATION OF ABBREUIA- 
TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR 

Copyright. 1914^. by Louis H. Chalif 



is Mr h?ml Mml of Hans 



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La Creole. 4 



La Creole 

CHARACTERISTIC CREOLE DANCE 
Somewhat difficult, for solo or group, 
by 
LOUIS H. CHALIF 



Q The Creoles being of mixed French and Spanish descent, their dances partake of the char- 
acter of each, havihg the snap and fire, aad haughtiness of the Spaniard and the easy daintiness 
of the French. Q The costume to be worn is of Spanish character. With high heeled pumps. 
Q The music is in 4 ds, with the peculiarity that each phrase begins with introductory notes on 
the 4th d of preceding measure. To fill in these notes it is necessary to make a preparatory 
lifting, with an accent, of the foot which is to begin the step, and to make a corresponding bend 
of the other knee. The knee of the lifted leg should be bent also so that the foot almost rests 
against the supporting leg. (| Technical terms are explained at the end of the description. 

Before beginning stand on Lf, pointing Rf in front in the intermediate pos., i. e. between 2nd and 
4th pos. The L hand is overhead and the R on the hip about 6 inches below the belt, as 
always in this dance v\'hen a hand is on the hip. 

Lift Rf and bend L knee slightly (preparatory m'v't, d 4), step Rf to side (d I ), and swing Lf 
across in front of Rf and hop on Rf (d 2). There may be a fouette (i. e. a quick bending and 
straightening of the knee) with the L leg while in the air. Step Lf across in front of Rf Cd 3), 
step Rf tack (d 4), step Lf back (d 5), step Rf to side (d 6), step Lf across in front of Rf (d 
7), and hold (d 8). \A/hen starting to dance place L hand on hip and move R arm to 2nd 
pos., then move R arm slowly to 1st and finish on d 7 with it on the hip 2 meas. 

Step Rf to side (d I ), draw Lf up to Rf and step on Lf (d 2), and repeat same (ds 3, 4). A 
more elaborate step is instead of drawing Lf along the floor to lift it with knee bent, thus making 
a demi-rond de jambe ( half circle) in the air with it. The L hand is on the hip and the R arm 
describes a small circle with each step draw, starting inward from 5th pos. each time 1 meas. 



Make a 3 step turn to R side (R, L and R; cits 1, 2, 3). The arms are 2nd pos., 5th pos. and 
finish on hips I meas. 

Repeat all starting Lf and move to L .4 meas. 

8 meas. 

^ 11 ^ 
Lift Rf behind bending L knee slightly (prep., d 4), and step Rf back leaving Lf pointed for- 
ward (ds 1, 2). The Rarm is overhead and L hand on hip, the shoulders face R, and the 
head, held very erect, looks forward. Step Lf back and reverse the arms (ds 3, 4) 1 meas. 

Cross Rf far behind Lf, rise on both toes and turn completely around to K with weight on Lf 
(ds I, 2, 3). The arms are 4th pos. with K arm up while turning and end with L hand over' 
head and R hand on hip. The trunk bends to L at the beginning of the turn and the head looks 
toward audience as long as possible. Finish with both erect 1 meas.. 

Repeat all 3 times more 6 meas. 

The 2nd time both hands are on hips for the 2 steps backward; the 3rd time is like the 1st, the 
4th like 2nd. The arms are the same at the ending of each turn- 8 meas. 

^ (11 1^ 

Lift Rf (prep, m'v't, d 4), step Rf forward (d I), step Lf back, step Rf back and step Lf in 
place (d and 2 and). (The ds are not exactly as described, for there are an accent and a 
hold on d I, so that the following d and comes only an instant before d 2). The L hand is on 
the hip and the K swings to 3rd pos. amplified on d I and to 1st pos. on d 2. Repeat same 
(ds 3 and 4 and) I meas. 

Step Rf back (d I), step Lf back (d and), step Rf forward (d 2), hold (d 3), and lift Lf bend- 
ing K knee slightly (prep, m'v't, d 4i. Finish \^'ith both hands on hip on d 2, taking a very 
erect attitude, as always I meas. 

Repeat all to L 2 meas. 



4 meas. 



^ lU ^ 

Repeat tke 1st 2 meas. of 1 2 meas. 

Step hop twice, K and L, turning completely around to R and moving to the K (ds I, 2, 3, 4). 
On each hop the free ft is bent and crossed in front. The arms are 4th with K arm up to 4th 
with L up. The head looks toward audience as long as possible and the trunk is bent to L at 
beginning of turn and head and trunk bent to K at the end I meas. 

Step Rf to side (dt I), step Lf across in front of Rf Cd 2), and hold (d 3). On d 2 extend the 
K hand forward forcibly Vi/ith palm up and place L hand on hip I meas. 



meas. 



On d 4 lift Rf back, bending the knee sharply, and at the same time bending the L knee (prep, 
m'v't). 

Make a 3\8 turn to R and move sideways in a diag. line backward to L with the following 
steps: Step Rf behind Lf at the same time extend Lf to L side very straight, like a cutting move' 
ment (ct I), step Lf across in front of Rf bending the knee after landing and at the same time 
lift Rf backward with bent knee as in the prep, m'v't (ct 2), and repeat same (cts 3, 4). The 
L hand is on hip and K arm in 2nd pos 1 meas. 

Step Rf back (ct 1), step Lf back (ct and), step Rf forward (ct 2), and hold (ct 3\ Finish 
with both hands on hips (ct 3). On ct 4 raise Rf backward (prep, m'v't) and turn to face L 



meas. 



Kepeat all starting Lf and continuing to move diag. backward to L 2 meas. 

4 meas. 

ii Ul ^ 

Lift Kf (prep, m'v't ct 4), and 4 pas de basque forward starting Kf. (A pas de basque is leap 
Kf to side, slide Lf forward, and bring Kf up to Lf displacing Lf). The cts for each p. de B. 
are I, and, 2. The arms are 4th pos. on Land K side alternately 2 meas. 

Step K toe back (ct 1), step Lf in place (ct and), step Pv toe forward (ct 2), step Lf in place 

(Ct and), and repeat (cts 3 and 4 and)-'Or in brief the Kf steps back and forward while the L 

marks time in place. The arms are 2nd pos., palms down and the trunk is bent forward. 

I meas. 



Step Rf forward and assume a veiy erect attitude with both hands on hips (d I), hdd (d 2), 
step Lf back and hold (ds 3, 4), step Rf back and hold (ds 5 6), and step Lf back and hold 
(ds 7, 8. On the 1st backward step the L aurn is raised and the P\ hand on hip, while for each 
of the other 2 steps this pos. is reversed. The carriage is very erect to L, R and L 2 meas. 



Move diag. forward to K with I waltz turn to K consisting of 6 steps (ds 1 and 2, 3 and 4), 
starting Rf. The arms are 4th pos. on K side to 4th on L and the trunk bends to L aind K 

I meas. 

In same direction step Rf forward (ct I), swing Lf forward with a fouette (see I. ct 2), step Lf 
forward bending the trunk back (ct 3), and step Rf backward Lf in front of K ankle (ct 4) 
On cts I, 2 the arms go through 1st pos. on their way to the attitude of the 3rd ct., which is K 
hand overhead and L on hip 1 meas. 

Repeat all to L and K '. 4 meas. 

Repeat the waltz turn to L 1 meas. 

Make a 3 step turn in the same direction (L, R and L). Finish on Lf, both hands on hips and 

head very erect I meas. 

8 meas. 



EXPLANATION OF TERMS. 

1st Position; The arms make a circle in front of the chest at the level of the middle of the chest. 

2nd Position: The arms are raised sideways a little below shoulder level. 

3rd Position: The K arm makes a half 'Circle over dr in front of the head £r the L is in 2nd pos. 

Reverse for "L arm in 3rd pos," 

3rd Position Amplified is the same, except that the raised arm is less curved. 

4th Position: The K arm makes a half-circle over &- in front of the head and the L is in 2nd pos. 

Reverse as above. 

5th Position; Both arms make a circle over and in front of the head. 

Lateral Positions have one arm in 2nd pos., and the other in 1st. 

Step Swing means swing the free ft forward &■ at the same time hop on the other. 

Step oi Slide Hop is hop on one ft &- lift the other backward. 

Slide Step Step Hop demands that the free ft be lifted backward. 

Slide Step Step Swing demands that the free ft be lifted ford. 



9 

J- 



J 




DANCES BY LOUIS "^H. CHALIF. The following list of dances composed o. 

.—■■><■ -w ^ arranged, copyrighted, published and for 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIOl 

1 — Easy. 

2— Of a litat diffic 

3— Rather diEBcult 

4 — Difficult 

d — Duet dance. 

g — Group dance. 

8— Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, SOc. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Pete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note: — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. SOc. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant DanCe. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



SOc. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(La Tempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing fealL Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. fcterpretiv8 s 3. 

Siunmer. Greek Interpretiv.e s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssolin). Interp. s2. 

Hark, Hark, the Larkl(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Dzmube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp, Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. P^ilish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i ZoSka. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, fe-om 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant.2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3, 
Esthetic Waltz, s or g 2. ^ 
Eugenie Onyegin. Waltz s or g 
The Fairy Queen, s or g 2. M 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. 
Little Fairy Snowflake. s. or g. 
Midsummer Night's Dream; Dai 
the Fairies. 12 or 24 girls, 1. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2, 
Papillons d' Amour. Waltz time 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." i 
Polka Miniature, s or g 2. $1 
Poppies. 3 or g 1. $2. 
Three Fair Maids, s or g 3, $3, 
Valse Brillante. s or g 3. $3, 

BALLROOM. 

Music and Description, (L 
Furlana. 2. I Minuet Wal 

La Russe. 1. Sylvia Walt 

The Countess. 2. | Gavotte Wi 

Mazur Waltz. Z 
DESCRIPTIONS of all the 
Dances, old and new, in their 
beautiful, modest, teachable and 
ard form, are published by the 
at $.50 and up. 

MUSIC for the newest In 
dances, in the pieces most approi 
us and the public, is carried in tt 
prices from 25 cents up- 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DAI 

Vol. I. The standard positions ai 
fundamental exercises. These 1 
scribed to the minutest detail, 
the book is useful alike to the 
who has no teacher, or the bes 
ers. 171 pp., ill., price postpaid. 
Music for the Classical Exercii 
Technique, as described in the 
Book, and including all used 
Chalif School. Third edition; 
collection of 47 beautiful pieces, 
hitherto; engraved. Postpaid, $3 
Grammar of the Art of Dand 
Friedrich A, Zorn. An importan 
to the profession. With music; 
plement, express paid, $10. 



THE CHALIF NORMAL SCHOOL OF DANCING ^ ""^ ^'^ 



Concernini 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schgols. Toe-work, very difficult steps and minute 
stage detail have been treated aS separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art wtiich while allowing an amateur 
to make rapid progress is yet authentic, b?autiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
■-- -■- T>—3-~~~-._:~ *..-»:<.v.o,? n-r, t4^o tJmp of trradiiation 



2nd; L. H. CHALIF 



The second factor in the inmiense success of this School 
been the experience and teaching ability of its principal. Froi 
years of age a student in the Imperial Ballet School of Russia 
Moscow, then successively a solo stage dancer, ballet master at 
Odessa government theater, instructor of dancing in leading I 
York private schools and director of the Chalif Normal School, 
experience has been long, complete and invaluable to his pupils. 
A certain ability at teaching has also made the school popi 
although it has prevented the use of assistants, since it hat I 
found that the students will listen to no one else while the piiw 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation e( 
of New York, "the most popular summer resort in the country," 
helped its enrollment. 

4th: THE MOVEMENT FOE ARTISTIC DANCINC 
which is more and more ascendant in this country, is the final c 
for the fame of the Chalif School. Everywhere there is a demam' 
tke real dancing, and here one can be trained to teach it. 



C S A R D A S 

HUNGARIAN PEASANT DUET 

By LOUIS H. CHf)L(F 



other National dances arranged by Mr. Chalif are listed below. Their price is 
Three dollars (3.00) each, and they can be procured only from 



The CHf)LiF N ORM(^L 
SCHOOL of Df)NCING 



7 WEST 42ND STREET.. NEW VORK 



Furlana. Venetian gondolier s. or g. 2. 

Saltarella. Sicilian d. or g. 2. 

Siciliano. Sicilian s. or g. 2. 

Tarantella. Neapolitan s. or g. 2. 

La Mancha. Spanish s. or g. 

Bolero. Spanish s. or g. 4. 

Madrilena. Spanish s. 3. 

La Paloma. Mexican s. or g. 4. 

Cachuca. Spanish s. or g. 3. 

La Feria. Spanish s. or g. 3. 

Ole Gaditano. Andalusian s. 3. 

La Gitana. Music only. Andalusian s. 3. 50c. 

Pavane. Old French d. or g. 2. 

Allemande. Old French g. 

Chaconne. Old French d. or g. 2. 

Gavotte. French s. or g. 2. 

Gavotte Directoire. Pavlowa's d. 2. 

Sarabande. Old French d. or g. 2. 

Minuet de la Cour. For 4 couples. $5. 2. 



Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. Austrian Peasant d. or g. 2. 
Ca la Breaza. Rumanian s. or g. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. 50c. g. 1. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russiaii Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasatchok. Russian peasant d. or g. 3. 
Plyasovaia. Russian s. with pantomime. 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g. 3. 
Csardas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. 50c. s. 4. 
Saibara. Japanese s. or. g. 1. 



SEE BACK COUER FOR EXPLANATION OF ABBREVIA- 
TIONS AND LIST OF OTHER DANCES BV THE SAME AUTHOR 



Copyright. 191^ by Louis H. Chalif 



Csardas 



Arr. by Louis H.Chalif. 



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INTRODUCTION 
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Louis H. Chalif. 



Csardas 

HUNGARIAN PEASANT DUET, 
Slightly Difficult, arr by 
LOUIS H CHALIF 

Prin. Chalif Normal School of Dancing 
New York 



The dance may be used for one or more couples Q It should be performed with precision 
and military energy. The name is pronounced Chardash, with both as broad This spelling 
may be used. 
The COSTUMES should be as follows: 

Q The girl should have a white full waist with somewhat full sleeves and a dark green velvet 
bodice, laced in front with red lacings and having a very narrow red ribbon around its edges. 
The skirt is of cream color and may have tiny flowers on it, it is full and about 12 inches off 
the floor. About 4 inches from the bottom there is a red ribbon I ' , inches wide, then 4 inches, 
then green and red ribbons of similar width and spacing to the foregoing. There is an apron, 
of white material with smaller red, green and red ribbons similarly arranged. Red boots are 
worn, of knee'length and with dancing spurs, or else red pumps with red or white hose. The 
hair is braided down the back and there is a wreath of flowers around the head, with ribbons 
hanging down. 

Q The Boy wears a very full white shirt with very large sleeves, having half-inch red. green 
and red ribbons about the cufl^s, 2 inches from the ends. The collar is soft and turned over; 
the tie is a red and green ribbon bow. The jacket, unbuttoned, is of dark green velvet trimmed 
with red and green "baby" ribbon. The breeches are short and very wide, and finished in 
red, green and red ribbon. Red boots are worn, with dancing spurs 



The INTRODUCTION is of 7 measures. On the 5th the boy and girl enter with inside 
hands joined, the outside hand of girl holding skirt, the steps quick and positive. They finish 
with 2 stamps, outside arms up, inside arms akimbo. 

I. A. 

Change places with partner, moving sideways with slide cut twice, starting inside ft. The out' 
side arms are in 5th pos. and the inside arms akimbo. Then stamp beginning outside ft. 3 
times, changing arms 2 meas 

Repeat to place again ..2 meas. 



I. B. 

In this figure the partners dance around each other. 

Pas marche beginning Rf, i. e.. slide Kf forward, close Lf up to Rf, and step Rf, swing Lf 
and repeat the same step starting L and R. Both arms are straight out from the shoulder. R arms 
against parh other Finish with 3 little stamps, beginning outside ft., turn once around, and 
change arms t rneas. 

Repeat starting Lf. and with L arms joined. At the end of the 3 stamps bring the inside arms 

to 3rd pos and face partner 4 meas. 

8 meas. 

II. 

Moving forward, starting outside ft. 6 step cuts '\. e. step Lf and strike it with Rf. forward) 
and finish with 3 stamps. In step cut the body is twisted so that the feet are walking sideways, 
while the head remains in the direction of reference (forward). The outside arms are akimbo 
and the inside arms overhead 4 meas. 

Turn partners with pas boiteux. i. e hop on Rf and at the same time stepping on Lf id \), 

then step Rf in front of Lf (d 2). Repeat 5 times more and turn away from partner with 3 

steps The arms begin in 1st position and finish in 3rd 4 meas. 

8 meas 



III. 

In this figure move gradually toward rear of stage. 

Facing audience and starting inside foot, with outside arms in 3rd pos. amplified and inside arms 

akimbo, each touch toe inward (d 1), touch heel in 2nd pos. (d 2), touch toe in 5th pos. (d 3), 

and extend the feet forward (d 4). During these pointings make a quarter-turn to face partner. 

1 meas. 

Cross inside feet to 5th pos. behind (echappe;^ <^d P, hop and open the feet to 2nd pos. with 
both toes turned in (ecarte) (d 2), close both feet to 1st pos. (d 3), and rest (d 4). The arms 
are crossed (d 1), opened to 2nd pos. (d 1) , and 3rd pos, with inside arms up (ds 3, 4. 1 meas. 

Repeat all, starting outside ft, and during the next 4 ds make a half'turn away from partner, 
so that during the next 4 ds the partners will be back to back 1 meas. 

Repeat again, making a half'turn toward partner, so as to become facing each other 2 meas. 

Repeat again, making a quarter'turn so as to finish facing audience 2 meas. 

8 meas. 

lU. 

The progression in this figure is diag. forvA/ard to L, then back, then cross over and change places 
with partner, then to R and back, then repeat all. Starting outside ft. 

Slide, hop, hop, bend both knees, rise straight up on the toes and lift the outside ft. The arms 
are extended straight forward 1 meas. 

Move back and change places. The girl steps Rf back, then Lf to side and Rf crossing over Lf 
passing partner. The boy does the same step, but begins (stepping back) with Lf The arms 
are in 2nd pos I meas. 

Repeat these 2 meas. 6 times more, alternating th? starting ft 12 meeis. 

Finish by turning partners 2 meas. 

16 meas. 

u. 

FRISKA 
The 2nd part of chardash is danced in a quicker tempo, and called the Fnska Pronunciation 
freeshka 



Facing front, do 4 lateral pas de Basque, starting inside ft I e., strike Rf (d 1 V slide Lf to side 
(d and.i, bring Rf to Lf and lift Lf to side (d 2\ The arms swing loose 4 meas 

Pass partners, changing places, with slide hop turning beginning inside ft, and finish with a 3 
step turn, the girl going in front of the boy. The arms are 2nd pos. (ds 1, 2), and crossed in 
front (ds 3. 4). Then slowly open the arms to 2na pos. during the remaining 2 meas 4 meas. 

Repeat the turning partners. Finish facing front, with girl's L arm on boy's R shoulder and 
outside arms in 5th pos 8 meas. 

Repeat ail 16 meas. 

32 meas. 

Ul. 

This figure is danced moving backward. 

6 skipping steps ( Russian tortiller) moving backward upstage. Slowly open the arms from 1st to 
5th to 2nd pos : 3 meas. 

Jump to stride pos. (ecarte). The arms are in 2nd pos 1 meas. 

The girl turns to R with the pas boiteux turn previously described and the boy to L 4 meas. 

Repeat all. Finish with 2 stamps, facing front, with outside arms up 8 meas. 

EXPLANATION OF TERMS. 
1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 
2nd Position: The arms are raised sideways a little below shoulder level. 
3rd Position: The K arm makes a half'circle over &■ in front of the head &- the L is in 2nd pos. 
Reverse for "L arm in 3rd pos." 

3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position: The fk arm makes a half'circle over &- in front of the head and the L is in 2nd pos 
Reverse as above. 

5th Position: Both arms make a circle over and in front of the head. 
Lateral Positions have one arm in 2nd pos., and the other in 1st. 
Step Swing means swing the free ft forward &■ at the same time hop on the other. 
Step oi Slide Hop is hop on one ft &■ lift the other backward. 
Slide Hop or Slide Step Step Hop demands that the free ft be lifted backward. 
Step Swing or Slide Step Step Swing demands that the free ft be lifted for'd. 



^ 



® 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed Ok- 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

]— Easy. 

2 — Of a little difficult;. 

3 — Rather difficult 

A — Difficult. 

d — Duet dance. 

g — Group dance. 

8 — Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s. or g. 2. 
Siciliano. Sicilian s. or g. 2. 
Tarantella. Neapolitan s. or g. 2. 
Bolero. _ Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only. ,\ndalus'.an s. 3. SOc. 
LaPaloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. Austrian Peasant d. or g. 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. SOc. g. 1. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-o£-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasacchok. Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g. 3. 
Csardas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 4. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek. For 12 young women. 2. 
Greek Maidens Playing Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Oriental Inierpretive s. or g. 2. 

BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
Description only, SOc. 

One-Step. 1. 

La Petite Waltz. 2. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original. -5. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northamton Glide. 2. 



Tango. Tile Parisian 
form of the Argen- 
tine Tango. 12 pp., $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 

La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $S. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 

Note: — The numerals used with these dances 
denote much easier grades than in the other 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourr^e. Old French. 3. 
Le Tambourin. Old French. . 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman. Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic, for men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 

First of May. Swedish. SOc. With folk song. 1. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Cracovienne. Polish. 2. 
Goralsky Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Miatelitza). Russian. 1. 
Khorovod (The Crane). Russia^. 1 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Anier. Indian. 1. 
Scalp Dance. .Amer, Indian. 1. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. SOc. 

iiugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. ^2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of th 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. 50( 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. ; 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. ; 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s. or g. 1. 

The Pohsh Princess. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 



CONTRA. 

Arkansas Traveler. 2. 
Beaux of Oak Hill. 2 
Flowers of Edinburgh. 
The Graces. 2 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



SOc. Each. 

Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tern 

pete). 1. 
Three Hand Ring. 3 
Windsor Terrace. 3. 



EXERCISES. 
The Classical Exercises for Technique. 

An entirely new and much enlarged collection o 
43 beautiful pieces of music, with the names an 
brief descriptions of the corresponding Junior an 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING ^oS:r,»Tn°|1 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and pubhc 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the i-^hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quit* all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, o^'autiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Armx and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 5 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it hasi been 
found that the students will listen to no one else while the principa.1 
is on the floor. 

3rd; LOCATION 

The position of the school in the uptown transportation centei 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final causi 
for the fame of the Chalif School. Everywhere there is a demand foi 
tk« real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school witl 
Crf:sses all day, both in the regular Chalif and Ballroom wofk and ii 
Pantomime, festival ballets. Toe-dancing, etc. And similar session 
ate held during a fortnight of the Christmas holidays and on Satur 
days and some week-day afternoons throughout the winter. Catalog 
of any of thftse, or of our dancing teachers' shoe and supply hous« 
win be sent with pleasure, on application. 



FDLK DANCES 



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DIANA 

GREEK SOLO DANCE 
By LOUIS H. CHALIF 

OTHER GREEK AND INTERPRETIUE DANCES BY THE SAME AUTHOR ARE 
LISTED BELOW. ifi tfi THEV CAN BE SECURED ONLY FROM 

THE CHALIF NORMAL 
SCHOOL OF Df^NCING 

7 WEST 42ND STREET, NEW YORK 

Greek Maidens Playing Ball. Very effective 2 $2 The Moon Dance. Oriental Interpretive s, or g. 2. 

Pompeian Flower Girls. Old Roman g. 2. Psyche. Interpretive s. or g. 2. 

Spirit of Spring. Greek Interpretive s. 3. Song of the Robin. Interp. s. or g. 1. 

Summer. Greek Interpretive s. 2. The Song of the Robin. Interp. s. or g. 2. 

Autumn. Greek Interpretive s. 3. Blue Danube Waltz. Interp. s. or g. 3. 

Winter. Greek Interpretive s. 2. Humoreake (Dvor-ak). Greek i. 3. 

Chopin's Waltz, C sharp minor. Int. s. 3. Wind and Wave. Greek s. 3. 

Valse Caprice (Rubinstein). Int. s. 3. Cymbal Dance. Greek s. or g. 3. 

Spring Song (Mendelssohn). Interp, s. 2. Forest Spirits. Greek. For 12 younj women. 2. 

Chopin's Waltz in D flat. Interp. flower d. Barcarolle from "Hoffmann." Greek ». 3. 

The Blue Danube Waltz. Interpretive s. or k. Moment Musical. Greek s. 2. 

Hark, Hark, the Lark! (Schubert). In. s. 3. Light and Darkness. Greek duet with pantomime. 3. 
Cleopatra's Dance. Oriental Int. s. or g. 2. 

SEE BACK COUER FOR EXPLANATION OF ABBREUIATIONS 
AND LIST OF DANCES BY THE SAME AUTHOR 

Copyright. 191 5. by Louis H. Chalif 



Diana. 



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Diana 

GREEK SOLO DANCE 
Not very difficult, by, 
LOUIS H CHALIF 

Qj The Trivian goddess Artemis is here presented in two of her aspects — as the huntress, act' 
ive, strong &- bold, &- as Luna ( Greek- Selene ) the moon goddess, the ma)estic queen of the 
night air. In keeping with the former character the steps and leaps must be large &- free, 
with great buDyancy, bjt n no plicj mj>: thsre bz any trace of working hard. The 
dancer must leap, but noi overleap. Q Since Apollo &• Diana, the sun &- moon gods, are 
very similar in mythological character, this dance may well be performed by a man, with a 
mere change of the name, the bow &- arrows (the sun's rays) being a familiar emblem of the 
slayer of Python. 

C| The costume for Diana will be a short, white tunic coming to the middle of the thighs, 
with perhaps a short cloak hanging back of the shoulders, and with a gold moon crescent in 
'he headdress, in same plane as the forehead, with the tips in a diagonal line. Back of the R 
shoulder hangs a quiver, very light so as not to bang up &- down, with a single golden arrov^, 
made of paper or the like for safety. The bov^/ may be of the simple or the classical shape, 
&- should be gilded. On the feet are sandals, bound half'way to the knees with leather thongs. 

Q The music is counted 1 , 2 to a measure: mention of more counts refers to addditional measures. 

(| While the Introduction is being played enter at L rear corner of stage &- stand there on 
L ft. side to audience, with Rf pointed back &- arms in 3rd position amplified wirh R arm up 
&■ holding the bow. the shoulders partially &■ the head entirely urncd to face forward . 4 meas 



Diana 2 
Move diag. forward R with this chain of steps; Slide hop on Rf (d 1, 2), 3 little steps 

jke a waltz turning completely around to R (L, R &• L: d 3 and 4). srep Rf forward 

(d 5), step Lf forward (d 6), leip forward onto Rf (d 7), &■ rest (d 8). The sseps on 

its 5 and 6 are really running steps when danced with vigor. The arms are 3rd pos amp. 

with R arm up until d 5 &- 6, when the L hand moves toward the bow string. &■ on 

d 7 (with the leap) an imaginary arrow is shot diag. upward, by pulling the L hand 

strongly back to the L shoulder. The head &- irunk are thrown back and the free leg is 

lifted behind. This arabesque, or its reverse on Lf, is used throughout the dance whenever 

shooting IS demanded, &- need not be described in detail again 4 meas 

Repeat all diag. forward to L. starting Lf In starting the slide hop change the bow to L 
hand, passing the arms through 1st pos to do so. We may. suppose the goddess of hunt- 
ing skillful enough to shoot with either hand 4 meas 

Repeat to R &- L again 8 meas 

16 meas 



Move toward R side with a kind o: bilancing step, in place thus: Step Rf forward (d 1), 
change the weight back onto Lf (d and), change the weight forward onto Rf again 'd2j • 
&- repeat ihe same 3 movements starting step Lf across in front of .Rf d 3 and 4j. We 
might say that in these steps the feet are dancing diag. forward to R side of stage, while the 
head &• shoulders face forward, making a twist of the body. The arms are ail the time in 
3rd pos. ampl. with R arm up &■ holding the bow. The head &■ trunk are thrown back, 
giving a look of triumph &- animation in contrast to the stealthy attitude of the Fig. to come 2 rneas 
Step Rf ic side >d I , leap, high, on Lf to L side turning completely around to R tour jetej 
(d 2), step on Rf to R side (d 3), &- hold without hopping, with Lf lifted behind d 4). The 
arms are 2nd pes on d I 6- at the close (d 3) are both holding the bow overhead the hands 
about 2 ft apart : 2 meas 



Diana 3 

Repeat all starting L &- R ft 8 meas 

Repeat the first 2 meas starting Lf to L side 2 meas 

Turn to the L &- make a tour jete diag. backward toward K side of stage (L, R &■ L, d 1, 

2, 3), &- hold (d 4), with Fkf pointed diag. forward to L &- bow overhead 2 meas 

16 meas 

1 HI. m 

The Hunt 

This Fig. is danced progressing little by little in a diag. line toward L front comer of stage. 
Point K toe diag. forward to L (d 0, mark time in place on Lf 'd 2i point back on K 
toe (d 3), &- step on Lf in the same place as before 'd 4). The above is as 
■f Rf stepped forward &- back while the Lf marked time in place. Step Rf forward (d 5), 
Step Lf forward (d 6), still standing on Lf bend L knee, sliding Kf back 'd 7'. &- pause 
-d 8' 4 meas 

The bow IS held in R hand backward £r downward, the L arm is extended forward above 
shoulder level. The trunk is bent forward &- to R &- the head is turned to look under the L 
arm &- also bent to K. as if looking intentl)' for game. The steps are take in a stealthy, 
noiseless manner, &- the music should be played softly. 

Step forward on Lf (d I), hold id 2)', &- make the same motion again with L arm, but in a 
more emphatic way as if to say, "Yes. there is my prey!" Change the bow to L hand, transfer 
the weight back onto Rf, take an arrovv/ from the quiver, at the R shoulder with R hand (d 4), 
Repeat the 1st 4 ds of the above, starting Rf again &■ keeping the same attitude, then take 3 
steps forward (R, L &- R; d 5, 6, 7), &- pause (d 8'. On the last step (on Rf) straighten 
the body &- mak» a motion diag. forward with L hand, palm up, as if to say: "Aha! there is 
the quarry!" 4 meas 



Diana 4 
change the weight forward onto Lf again, turning the shoulders to face R &- fitttng the arrow 
to the bow string <d 5. 6) &r step back onto Rf, bringing the bow &• arrow strongly back 

toward R in front of R shoulder in preparction for the shot id 7, 8,) 4 meas 

This pantomime must be done \A/ith great precision &- force. 

Slide hop diag. forward on Lf holding the bow in readiness d I, 2 ', repeat in same diredion 

on Rf (d 3, 4). step Lf forward d 5\ step Rf forward (d 6), make a very large leap onto Lf, 

at the same time adualiy shooting the arrow diag, forward &- upward to L ■ d 7 . &■ pause 

d 8) ■4meay 

16 meas 

H I U. ii 

The Joy of- Victory 

This Fig. needs the greatest exuberance. Turn completely around ro rhe R in place wirh 
btep &- hop on Rf d 1, 2). fc- same on Lf d 3, 4i, each rime hopping very high as 
in a burst of joy. 6- lifting the knee high in front 6- sharply bent The arms are 3rd pos. 
R arm up &- same with L up; the trunk bends slightly to L &- R; rhe head &- chest are 
up 2 meas 

3 running steps in a semi'Circle toward L rear corner of stage R, L 6- R: d 1. 2. 3'. &- 

hop on Rf lifting Lf behind d 4'. The: arms are 3rd pos. amp, R arm up 2 meas 

Repeal all starting Lf, but without turning. Finish wi'hout a hop on Lf ^acipg L, at L rear 

corner ot stage 4 meas 

8 meas 

w^ V. m 

Selene. 

This Fig IS danced quietly, the music playing softly: this is suitable for the charader &■ 
provides a rest for the dancer Begin still facing L 



' Diana 5 

Leap backward onto Rf &- immediately slide back on Lf, i. e., make a leap slide backward, 
the 2 movements coming almost together on d 1. step Rf forward 'd 2), step hop on Lf 
forward, lifting Rf backward (d 3. 4). The arms remain in 3rd pes. amp. L arm up. .2 meas 

Turn once around to R, moving to R with step swing twice, lifting the knees forward 
R &- L: ds \A). The arms are 3rd pos. R arm up &- the reverse; the trunk bends , to 

L §. K 2 meas 

Continuing to R side slide hop forward en Rf &- the same on Lf d 1-4 1. &- slide step 
step &- hop, R, L, R. R>. ds 5-8 ). The arms are 3rd pos with Ps £r L >.rm up on 
ds I' 4, &• the dancer finishes on d 7 in the following arabesque, which depicts the new 
moon: face R with weight on Rf. Lf resting close against the back or ^ '^nee, L knee 
turned -">ut sideways, hold the bow up by one end witn both hands: &■ bend the trunk 
&- head back as far as possible, so as to make a long & nearly continuous curve of the 
bow, arms, trunk &• supporting leg 4 meas 

Repeat all starting with L. R &- L ft alternately 24 meas 

32 meas 

H UL m 

.Again ^/'e have Diana the huntress, dancing with vigor and )oy. Moving to R step swing 
on Rf d I, 2;, &- 3 steps similar to a waltz step turning 3nce around to R (L, R &- 
L: d 3 and 4). The bow is held in both hands overhead 2 meas 

Continuing in same diredion, step step leap &■ rest (R, L &- R: d 1, 2, 3), as in Fig I shooting 
an imaginary arrow, with the bow in R hand 2 meas 

Kepeat all to L, K &■ L . .'■ 12 meas 



Move diag. forward R, covering much- space, with: a high leap onto Kf. leaving Lf extended 
behind (eft 1), step on Lf forward (d:-2), &- repeat 3 times more, but after the last leap omitting the 
step forward on Lf &- pausing instead (ds 3-8) The arms are all the lime in 3rd pos. 
amp R arm up &- holding bow 4 meas 

Moving diag. backward to L back corner of stage, starting Lf. make I complete \A/altz turn to 
L consisting of 2 waltz steps, covering much space (d 1 and 2. 3 and 4). The arms are 2nd 
pos. on d 1 6- 2, &- 5th pos. on d 3 &■ 4 2 meas 

3 steps in the same diredion ■ L, K &- L; d i, 2. 3 ' &- pause on Lf. facing L with Kf raised 

behind (d 4) &- beckon with a large movement of the NA/hole L arm to\A/ard L side of stage, 

o summon Diana's nymphs. The bow is in R hand 4 meas 

24 meas 

It IS a very good arrangement to have "Diana s Hunting Party" danced inimediately after this. 

EXPLANATION OF TERMS 
1st Position The arms make a circle in froni of the chest at the level of th. middle of the chest 
2nd Position The arms are raised sideways a little below shoulder level 
3rd Position . The K arm makes a half-circle over &- in front of the head &■ ihe L is in 2nd pos. 

Reverse for ' L arm. in 3rd pos-" 
3rd Position .Amplified is the same, except that the raised arm is less curved, 
4th Position The K arm makes a half-circle over &■ in front of the head 'b- the'L % ,ii Isi pos 

Reverse as above 
^th Position . Both arms make a circle over 6- in front of head. 
Lateral Positions have one arm in 2nd pos &• the other in 1st, 

Step SvA/ing means step on one ft, swing the other ft, forward &- at the same time hop on the 1st ft. 
Step or Slide Hop is to step on one ft &- then hop on it lifting the other ft backward 
Slide Step Step Hop demands that the free ft be lifted backward. 
Slide Step Step Swing demands that the free ft be lifted forward. 




DANCES BY LOUIS -H. CHALIF. n- IolU,wing Us. of dances composed o. 

J-.W-W .^ arranged, copyrighted, published and for 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1— Easy. 

2— Of a litMe dlSuUtr. 

3— Rather difficult 

4 — Difficult. 

d — Duet dance, 

g — Group dance. 

6— Solo dance. 



NATIONAL. $3 Each. 
I'urlana. \ enetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Qdadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok, Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Cs&rdas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 

BALLET. 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pan- 

-omime ballet, $10. 
In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note:— The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English, 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(LaTempete). 1. 
rerrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 
Wind and Wave. Greek s 3. 
Psyche. Interpretive s or g 2. 
Forest Spirits. Grk. 12 yg. women. 2. 
Pompeian Flower Girls. Old Roman g 2. 
Greek Maidens Playing Ball. Simple 

and very effective. 2. $2. 
Cymbal Dance. Greek s or g 3. 
Spirit of Spring. Grk. Interpretive s 3. 
Summer. Greek Interpretive s 2. 
Autumn. Greek Interpretive s 3. 
Winter. Greek Interpretive s 2. 
The Moon Dance. Oriental Interpre- 

Cleopatra's Dance. Oriental Int. s or g 2. 
Moment Musical (Schubert). Grk. s 2. 
Barcarolle from "Hoffmann." *Grk. s 3. 
Spring Song (Mendelssohn). Interp. s 2. 
Hark, Hark, the LarkUSchubert). In.s3. 
L'Automne (Bacchanal), d 3. 
Blue Danube Waltz. Interp. s or g 3. 
Song of the Robin. Interp. s or g 1. 
Chopin's Waltz, C sharp minor. Int. s 3. 
Chopin's Waltz in D flat. Int. flower d. 
Valse Caprice (Rubinstein). Int. s 3. 
Humoreske (Uvoi'ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s org 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, e 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi^rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1, 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant.2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. %%. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. |), 
The Fairy Queen, s or g 2. f3. 
i.ireflies. s ..r g 2. $2. 
The Golden Butterfly, s or g 4. $3, 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3, 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet Walt*. 2, 

La Russe. 1. Sylvia Welti. Z 

The Countess. 2. I Gavotte Walti. 2, 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their moit 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
lis and the public, is carried in stock tl 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

\'ol. I. The Standard positions and tfi8 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, ae described in the Text 
Book, and including- all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, fcy 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAL SCHOOL OF DANCING ^oSirmTn^i't 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical trainine. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

ims is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated qS separate branches, but almost all 
the beauty of the original, and quiv all of its spirit and scope have 
been retained. The result is an art wti:ch while allowing an amateur 
to make rapid progress is yet authentic, D.-autiful, utterly captivatin"^ 
to the student, and furthermore bringing health, kno''led?e of r"rigl 
character, alertness, graco. and a soul-deep development estheticpllv 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding sue- -= 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When tauffht to teachers it includes more than this, for an exi-el 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif an I 
Be'lroom dancing, an exhibition dancer emd a composer of dances. 



oncerning 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . c 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has beeiv 
found that the students will listen to no one else while the priiicipal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4tn:THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
f~r the fame of the Chalif Schoci. Evervwhere there is a demanf* for 
t!-'- real dancing, and here one can be trained to teach it. 

COURSES 
Each year during J'me and July there is a normal school with 
r--3seb all day, both in the regular Chalif and Ballroom work and in 
Pantorr.ime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and som.e week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply hous«i 
will be sent with pleasure, on application. 



D I A IN A^ S 

HUNTII^G PARTY 

GREEK GROUP DANCE 
By LOUIS H. CHALIF 

OTHER GREEK AND INTERPRETIUE DANCES By THE SAME AUTHOR ARE 
LISTED BELOW. Hi ifi THEY CAN BE SECURED ONLY FROM 

THE CHALIF NORMAL 
SCHOOL OF DANCING 

7 WEST 42ND STREET. NEW YORK 

Greek Maideni Playing Ball. Very effective. 2 $2. The Moon Dance. Oriental Interpretive t. or g. 2. 



Pompeian Flower Girls. Old Roman g. 2. 
Spirit of Spring. Greek Interpretive c. 3. 
Summer. Greek Interpretive s. Z 
Autumn. Greek Interpretive s. 3. 
Winter. Greek Interpretive s. 2. 
Chopin's Waltz, C sharp minor. Int. ». 3. 
Valse Caprice (Rubinstein). Int s. 3. 
Spring Song (Mendelssohn). Interp.s?^ . 
Chopin's Waltz in D ilat. Interp. flovfer d. 
The Blue Danube Waltz. Interpretive s. or k- 
Hark, Hark, the Lark! (Schubert). In. "s. 3. 



Psyche. Interpretive s. or g. 2. 

Song of the Robin. Interp. >. or g. 1. 

The Song of the Robin. Interp. s. or g. 2. 

Blue Danube Waltz. Interp. s. or g. 3. 

Humorcskc (Dvorak). Greek i. 3. 

Wind and Wave. Greek s. 3. 

Cymbal Dance. Greek s. or g. 3. 

Forest Spirits. Greek. For 12 young womea. 2. 

Barcarolle from "Hoffmann." Greek i. i. 

Moment Musical. Greek s. 2. 

Light and Darkness. Greek duet with pantomime. 3. 



Cleopatra's Dance. Oriental Int. «. or g. 2. 

SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF DANCES BY THE SAME AUTHOR 



Copyright. 1915. by Louis H. Chalif 



Diana's Hunting Painty. 



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Allegrissimo. 

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Diana s Hunting Party. 5 



Diana's Hunting Party 

VERY EASY GREEK GROUP DANCE 

For any number of couples, by 

LOUIS H CHALIF 

Q The execution should be wjfh great freedom, a large amont of space being covered in the 
^teps, but at the same time there must be relaxation &■ ease And the heads shodd be held 
high &■ the chests raised, to express the |oy &- excitement of the chase, 

Q The costume should be "Greek", &- of some heavy material in a light color or some com^ 
bination of dark &- brilliant colors, or of red alone. The gown, or tunic should be quite short, 
z-r not very full On the feet are sandals, bound halfway to the knee with leather thongs Eaoh 
girl carries a bow about 3 ft long, & a quiver hanging over the back from her R shoulder, bui 
no arrows, for group archery would not be safe Q The music is counted I, 2, 3. 4 to a 
measure; 8 counts indicate that 2 meas have been used 

Enter tn single file from L rear comer of stage, and the line be fhen led tc make up a circular 
formation The steps meanwhile are. Slide hop forward on Rf lifiing Lf behind {6\ 1,2 ), &- 2 
running steps (leaps) forvvard (L &- R, it 3, 4) The bow is held in L hand &- both arms are 
diagonally forward &- upx^/ard &■ to each side on dt I, 2 ^ fall ro 4toulder level sideways 

-'n -^f 3, 4 I meas 

i\epeat 7 times more, starting with. L &• Rf alternately 7 meas 



Diana's Hunting Party 2 

In the above the hop should be high &- considerable space be covered by the leaps Finish 

with all facing outward. 

8 meas 

il lla 1 

Move backward toward center of circle with 4 skipping steps, starting Rf (4ds). Gradually 
bend forward Vv'hile moving backward The arms are to side at shoulder level ... I meas 
(A skipping step is hop step (d I), repeat on other ft (d 2), etc; lifting the knee forward 
sharply bent eacfi time.) 

3 running steps forward starling Rf (d i, 2, 3), & leap forward onto Lf (d 4). landing 
with Rf raised behind &- pulling the bow string with R hand, shooting an imaginary arrov^' 
diag forward upward. The irunk &- head are bent back I meas 

Kepeat all ..• . .2_meas 

4 meas 

Kepeat Figs. 1 &- 11 12 meas 

m ill. m 

Keep the bow in L hand throughout this Fig. Number the partners 1 &- 2, I &- 2 etc 
The No Is will progress around the circle to R 6- the No 2 s around to L 
No 1 starts Rf moving toward R side with 4 walking steps turning halfway around to R 
as she walks, so as to face her partner i. e partners change places at first (4 ds) The bow is 
held overhead with both hands .1 meas 

Take more step back on Rf (d I), at the same time starting to bring the bow down with 
a large sweep of the arms &- bending rorward to fit an imaginary arrow to the bow string 
(d 2), keeping the weight on Rf with Lf pointed forward, raise the trunk (d 3), &- shoot 
the arrow diag. upward (d 4) 1 meas 



Diana's hunting pany 3 
When No. I's are doing the above 2 meas the No. 2's. like No. Is, take 5 steps start' 
ing Rf, but they move toward L, turning to R once around while walking so as to finish 
^aclng partner, then standing on Rf they bend to fit arrovA/ to the bow string, &- shoot diag upward. 
After this Nos. I &- 2 do exactly the same thing as follows: Each starting Lf move to her 
own L side with 4 steps only turning completely around to L to face her neighbor (4 <f\s). 
keeping the weight on Rf xA/ith Lf pointed forward, bend to fit arrow to bow string, &■ shoot 

diag up as before 2 meas 

Kepeat these last 2 meas 3 times more each time starting Lf always, fr facing a new- 
neighbor each time 6 meas 

Original partners are now far separated &- do not come together again At very end or 

this Fig. transfer the weight to Lf so as to be able to begin the next Fig with Rf. 

\0 meas 

^ lU. ii 

Ail moving around the circle step Rf to R side (d l), draw L toe along the floor toward Rf 
(d 2), step Lf behind Rf &- hold (cl 3, 4), turn to R &- move toward center with 3 ^enlf? 
running steps forward (R, L 6- R; d 5. 6, 7), &• pause facing center of circle (d 8) Hold 
the bow in both hands overhead all the time. On d 1, 2 bend at the waist far to L, straighten 
the trunk again 6- finish on d 7 SA/ith trunk bent somewhat back &- head looking up 2 meas 

Repeat all starting Lf, turning to face L on d I £r moving toward outside of circle, finishing 
facing outward. The arms are as before 2 meas 

Repeat all 3 times more, gradually moving around the circle: The last time take the 3 running 

steps turning in place &- finishing shoulder to shoulder facing outward 12 meas 

16 meas 

H u. H 

The tst 2 meas are executed in place, somewhat of a repressed balancing movement Step R^ 
forward bending R knee 6- keeping Lf on the floor, (d L With the feet in this pos. Iv^nsf't^ 



Diana's hunting party 4 

the weight back onto Lf (d 2), step forward onto Rf (d 3), &• transfer weight to Lf (<ft 4), 
The R arm is extended forward head'high £r the L hand holds the bow rearward &- below 
shoulder level, &- the trunk is inclined forward. These are the larger movements for the evid' 
encing of suppressed excitement &- anxiety to be off after the quarry, feelings which are shown 
by the dancer's face &- in every way 1 meas 

3 running steps forWard toward outside of circle (R. L 6- R; d 1, 2, 3), &- leap forward onto 
Lf (d 4), shooting an imaginary arrow d;ag. upward as in Fig. II I meas 

iRetum to center of circle with step hop 4 times (8 ds), starting Rf &- making 2 complete turns 
to K. The free ft is lifted backward each time, the bow is held overhead with both hands, 
&- the trunk bends slightly back 6- to L, R, L &- R 2 meas 

'Repeat all 3 times more, always starting Rf 1 2 meas 

16 meas 

m yi. m 

Turn in place around to the R with 3 skipping steps starting Rf (d 1, 2, 3). Hold the bow 
in the L hand, step forward on Lf &- shoot an arrow toward outside of circle, pulling the bow 
string with R hand ' d 4 ) •. 1 meas 

2 small pas de Basque in place, facing out, starting Rf (ds 1-4). Hold the bow overhead in 
both hands. (A pas de Basque here is leap on Rf to R side (d 1), step on Lf in front of Kf 
(d and), &■ step on Rf in the same place as before (d 2) ......,..,...,..,.,. 1 meas 

Repeat all twice more -. 4 meas 

Progress around the circle to R with 8 skipping steps .8 ds), starting Kf &- turning 4 times around 
to R (or twice for greater ease:). lifting the knee forward with each step. The bow is over' 
head. Finish with all facing out 2 meas 

Hold the bow m L hand, step back on Kf &- hold (d I, 2). step back on Lf &■ hold (d 3, 

4). kneel on R knee &- bend backward, shooting forward &■ upward id 5J, &■ hold this pos 

'd 6. 7. 8) ,.. 2 meas 

10 meas 



DANCES BY LOUIS H. CHALIF. 



The loilowing list of dances composed c 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVlATIOna 

1— Easy. 

2 — Of a little difficulty. 

3— Rather difficult 

< — Difficult. 

d— Duet dance. 

g — Group dance. 

s— Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano, Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Svirords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, SOc. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 

BALLET. 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
The Sun, or Earth's Awrakening. Pan- 

-omime ballet. $10. 
Tn CleoDatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note:— The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Proven(;al. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or ^oys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 
Long Dance. Swedish. 
Ring Dance. Swedish. 
First of May. Sw. SOc. 
Mountain Trio Dance. 
May Dance. German. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 
Scalp Dance. Amer. Indian. 



w. folk song. 1. 
Norwegian. 2. 



1. 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



.Wc. Each. 
Money Musk. 2, 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(La Tempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3, 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s2. 

Hark, Hark, the LarkUSchubert). In.s3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp ininor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Uvoi^ak). Greek s 3;...-v;;, ; 

CHARACTERISTIC and DElill- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, t 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3, 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. 
Bluette Polka, s or g 3. 
Esthetic Waltz, s or g 2. 
Eugenie Onyegin. Waltz 



$3. 

$3. 

$2. 
s,or^e J. 91. 



The Fairy Queen, s or g 2. $3. 
i'ireflies. s or g 2. $2. 
The Golden Butterfly, s or g 4. %i. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: IDance of 

the Fairies. 12 or 24 girls. 1. ?3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $S. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet Walti. t. 

La Russe. 1. Sylvia Walti. 2. 

The Countess. 2. | Gavotte W«lt«. J. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
'Dances, old and' new, in. their molt 
beautiful, modeit, teachable and stind- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in itock tl 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and #19 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.S0. 
Music for the Classical Exercises for 
Technique, a« described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, iy 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAJL ^CHOOi^ OF DANCING 



IT IS located in Ncvv York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical trainins?. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the ichool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

inis IS the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated <»s separate branches, but almost all 
the beauty of the original, and quu» all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progrcs is yet authentic, beautiful, utterly c-nti''atinCT 
to the student, and furthermore bringing health, kno "ledo^e ^f '-~'-ia1 
character, alertness, grai-i,, and a soul-deep development eEt'"';t'"''llv 

The adaptation of Classic dancing has not been atteinpted by 
the Chalif School only, but by it with the most ovt^tanding si'' -" 
especially in three particulars. First, the use of the Arm and the 
rest of the body has been kept equally important w't'-i the v^ jf the 
feet. Second, in National, Demi-character and Folk dan-ing the 
National Character of each race is really preserved. Thirr' ^ th^r- 
ough regard is had for the proprieties, so that although Chah'' -"icing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for at^ exi-el- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif an I 
ISaHroojiLdancine. an exhibition dancer and a comnoser of dances. 



A Few 'WTords 
Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in ■ 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rJ: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4t«: THE M0V::MENT for ARTISTIC DANCING j 

which is more and mo'e a?;cendant in this country, is the final cause j 
f-r the fame of the Ch-l..' 2 hocr. Everywhere there is a demanr' for 
tl--^ real dancing, and here one can be trained to teach it. 

c o u r: S E S ; 

Each year during June and July there is a normal school with 
c-'sses r.U day, both in the regular Chalif and Ballroom work and in ! 
Pantoi-.iiTie, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalog* 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. i 



DONSKOIC088eDANC 

LOUIS H.CHALIF 

^ne /7///owih(/ , oy ^/ic •s-amc az 1^/70/''^ cira o^h&r Q7ahc>/jai '&ci/?ce~t ^yv/f/c/i /nwii&m. 
sc/ecfed -/horn a uc/y i^i'da re/oarfory as dein^ ^Ae itjc>/-/c/ '-y Sesi . Wicy eo/tstsi- .jh 
C^cjpropn^afe ?77i.isie a/7cP a ca/??j2/(i^c c/esci'i'/s ?io/z o/" ^/7<i c/a/'ce j a/~e. caof7~f^/i^<^<a! ewid' 
Cti/i 3e TOrocarac/ a/t/y yrorT^ 

i/be SkaU'f '^yov\-\^od bchooio^ ^aiia/tg 

7 Wesl At ad 5t . Sa.ew Bovl^ 



Sy'ce ^ree So/hr^ Sack 



5ICIL1AN0 

FURLANA 

tARANTELLA 

JALTARELLA 

TVROLIENNE 

BOLERO 

MADRILENA 

ALE OADITANO 

LAGITANA 

CACHUCA 

LA FERIA 

LA PALOMA 

CHACONNf 

«AIP-OF'(HONOR 



Sici/ia^ Jo/o PAVANNE 

yc'/7<i/7h/7 FcJ/7c/o/ie7- s>j/o GAVOTTE 

9?ea/poh-7^ct77 ^asa/7^A7/7ce MIMUET DE LA COUR 

Sui'Iia/i LOuci (iUEEN OF 5W0ilP 

/?t4^hi'a7z ^asci77/ ^ac'/ THE" MA OVA R 

Spa/iis/i Jo/o C5ARPA5 

j}yiiji?'sh Jt,>/o POLS K A 

/^c/ci U'^-i'a/ 1 So/o PO L N A 1 S E 
% . 9i/js^ So/o - sWip-7bt/7i!y, cf^/K R A K V I A K 

Spa/ifsh So/o RUS51 A N QU A DR I L L f 

Span/sAso/o THE BRIDE~5 PANCE 

Ma;<jccv7 ^0/0 D0N6KO I COSSACK 

97;ns/, 'J)z7c/ KASATCHAK 

iDcJ77 c t - S??oiztirkay So/^, 5 A 1 B A R A 



O/d T'mrfcA £>ueJ 
jra/1 ah So/o 

-^T- -^ colipl<iS . ^S 

Jirnpia /////Tti-'^/ Sjvu/o 
J{unj/ar/cin Solo 
Jaasan^ '-Oc?nca, So/o 
3nad/s/i ^iicl 

9?? lis I c o/iy 50 <p 

Jolis/i aa77i-(jma7i<i a/oiuo<hfC6 
5nj I ip -Ai/7 ca ^ -Mr 2 coiiplAi 
Solo /Russian Jci/i/vmi7n<i 
■i.OancA ^ Soli? or $i\nj^ 
Kicjsian viasani MJanea 



SKh/iaiya st/'i'ss uf ^hni - CAarac-Z-a' lianas f Jr^icc ^ ^J fs/Ac^t'c ci/id ^v^ 
(Wjj/C(1/'J 4^mc&t f )^ B-3 J OAmio/L'T-Zj/ic . rda/kN ( / 5.) /3a//<sh f/S- /<^^ 
^//i id>.vntt / tj^ ^ ,1 rSafli'vani r^dDoej /j^-Z^J and Ci>n/ra Wia/iees / 6'OpJ^ ^ /« 
Aad kiiily ^V7n iHn Se/iuo/' 



DONSKOI COSSACK DANCE 



Mod- aasa. 



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^mn //'//-/a shps in ^Paca { S , /^ ^ -i 7 /cy/V?/;//?^ M/'M a/ 

ffrn7i su{ng across I'n ^anf ,---/* 

J^ipcai samt - »,/* 

'^t/ri'ny ^/n Lis^ tcoa jneas . /^ Aand ?} orej' neoid %• i Aand 07x /itji:>^., 

rCiipeaf same -fo /2 side aaa-tn - . ^ ~ - -- 40- » 

/?f-/-/ie arid ef ilhe /as/ 7r?caj . ^Ae / S^c/o /esj ^/ia/i 3ci^o/'c Sf p'n/jA if 
6rin^i'ng ■* fi -fortvard . 

Kefie,^/ a^l ii&ff?nnj'ng ^ f/ iO i. Tide >. — S .,. 

^ep&ai b> /? and -i^ . ■ • --/& «> 



H 



S/ep ^, f/ {x3 /? side Cat -/.J, i>ri/sA ^ Aeef across I'/i /T-an/ of /^ - 
f/ fe/ S]. 

^ /fand oYiir/iacid _ -i nand on /ii'/O -/ 

k^y/yn-nhi^ X /y iO /^ side, yf -pol/kco s/cyo f 5ejf}'nnihy uti'M X /i<Si'2jJ.. 
Suii'ng /2 . arm h> 7^- ^oosi' /io/-i . ■ .«»»»•.■/ 

^epi^at "' samn bci/i'nn''?? g /Q. /ice^ . 
Open /?. arm ^ B"-^ y^i^s . 

•ic'ti/O a/ilo -i /y xi.c/-n/'n^ co7-npicfa/y ari>und ro /?. s/di ^ -^m^ sSsi/'^^^^t' 
Cross Orms i'^ froni U)/7i7c / tcfni'rtg an c! ^';7isA iS///2 Jk. Ai^nd o^^'^J^^^dl 
a/)d < A and o/i Aip ..- .. _ ...,..., ^^ , , , , . » » ^ x -^ ^^ 

/?a/PC'a/ a// h ^ jsida , . •4^ 

/ecpe^f ^ /e. ^ ^. , .-.-..-. ^ 



-IhnS'koi CoJJ-aeAs canhh. 

JUT. 

Seap /?. f/ fvrwct/-c/ %• /c-/ i/yc iody fa U fort^ctrcf ^ c^ J.J 

Open cirms vo Sj^d pos . 

/Begin ^hc /??iss/ar7 -^rh'/Zar ^ c/ S J ... - ... - • / meax- 

[ fills siTJin -fijri-i'ne-?- is ho^ S^cp hop stejo , efc. ^ackurai-cl w^h ycry 
S/f7c7// s-faps^ . 

ffrms f^rom S^^ /^ Sz-id p?v>s ■ . ■ ..-.-- .._ 2 » 

2 large Taaps -jforioard / /d h' -I- J '' " 

/^epL'ai ai^ 3 Aw^j- n->erc i^ * 

/6 . 



Sijiich jG . /led die/ ■ -for-^ard y a^ f//(i same, -h'mc /pop o,< <' f^ j 
fhaii raise] /^./V bahi'nd \i /?op on ^C fi ajciin f ^icsa. Z moYn ^ 
)77c/ih fa/2<: A'i''/' Ci micjs wc J O/ii/ ^r a'' • / o/?d J 

Shp i?Jl St'iiinci S /? czii-i-ing ^ f^ "'■"' f""' >^^-"'<=i A^ '=='/ . ^ " 

i?apicii sa/ne ^o i . . . , .,,,/„ 

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THE 



ECHO 



GREEK INTERPRETIUE SOLO DANCE 
BV LOUIS H. CHALIF 

OTHER GREEK f)ND INTERPRETIUE DANCES. BY THE Sf^ME AUTHOR. 
ARE LISTED BELOW. AND FURTHER DESCRIBED ON THE BACK 
COUER OF THIS DANCE. THEY CAN BE PROCURED ONLY FROM 



THE 


CHALIF 


NORMAL 


SCHOOL 


OF 


DANCING 


7 WEST 42ND 


STREET. 


NEW YORK CITY 


The Echo 




Summer 


Anitra's Dance 




Autumn 


Pastorale 




Winter 


Diana 




The Moon Dance 


Diana's Hunting Party 




Cleopatra's Dance 


Prelude Chopin 




Moment Musical Schubert 


Morning 




Barcarolle fnm Hoffmann 


Noon 




Spring Song Mendelssohn 


Night 




Hark, Hark, the Lark! Schubert 


Wind and Wave 




L'Automne Bacchanale 


Psyche 




Blue Danube Waltz 


Forest Spirits 




Song of the Robin 


Pompeian Flower Girls 




Chopin's Waltz, in C sharp tninor 


Greek Maddens Playing Ball 




Chopin's Waltz in D fat 


Cymbal Dance 




Valse Caprice Rubenstein 


Spirit of Spring 




Humoreske Dvorak 
Bacchanal 



COMPLETE LIST OF DANCES ON BACK COUER 

COPYRIGHT 1915 BY LOUIS H. CHALIF 



THE ECHO. 



Intro. 
Animato. 



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The Echo 

GREEK SOLO DANCE 

Not very difficult, by 

LOUIS H. CHALIF 



^The dance should be rendered with an ethereal delicacy & with the fulness of joy. 

^"Step swing" as used in this dance is: step on one ft (ct 1), & hop on it lifting the 
other ft forward with knee sharply bent & turned forward. 

^Step or slide hop is: step on I ft (ct I) & hop lifting the other ft behind. 

^The music is counted 1, 2 to a measure; when 4 cts are named 2 meas are indicated. 

INTRODUCTION 

Run in from L rear corner of stage with many steps to back center of stage . . 2 meas 

Listen, standing on Rf with R knee bent and R hand at the ear, L arm in 2nd posi- 
tion, palm down 2 meas 

Stand on Lf facing diagonally to L, with arms diag. forward & upward & opened at an 
angle of about 60' L higher than the R, & in this pos. make an upward motion with 
both arms that is like a wave starting from the shoulders as an expression of joy, (ct 1 ) , & 
pause (ct 2, 3, 4) . The head should be thrown back & the chest much elevated 

2 meas 

Repeat the motion with the arms (ct I ) , & pause (ct 2, 3, 4) 2 meas 



I 



The Echo 2 
* J * 

This Fig. is danced in a circle counterclockwise. 

Step swing on Rf (ct 1, 2), & 2 running steps forward around the circle (ct 3, 4). 

The arms are 3rd pos. with R arm up, then pass through 1st pos. on ct 3, 4 . .2 meas 

Step hop hop on Lf (ct 1, 2, 3), & hold (ct 4). The Rf is lifted with knee forward 
& the ft placed against the inside of L knee. The L arm is lifted straight up, palm 
forward & R arm is extended down & back, while the trunk & head are thrown far 
back 2 meas 

Repeat all 3 times more, always starting Rf 12 meas 



16 



* TT * 



II 

Step swing on Rf facing to R, with arms in 3rd pos. amp. R arm up (ct 1, 2), & step 
hop on Lf curving R arm closely over the head, & looking back over L shoulder, L arm 
remaining in 2nd pos. (ct 3, 4) 2 meas 

Turn in place completely around to R with 2 small leaps (R & L; ct 1, 2), with arms 
in 5th pos. Make a gentle leap onto Rf facing to R (ct 3) , & hold (ct 4) . The L knee 
is bent with the Lf resting against inside of R knee, R arm is straight up, L arm down 
& back, & the head & trunk are thrown back 2 meas 

Repeat all starting Lf to L side 4 meas 

8 meas 

INTERLUDE 

Step on Rf facing diag. to R & raise the R hand to beside the mouth, the hand verti- 



The Echo 3 

cal as if calling to someone: then extend thie hand in the direction of calling, the L hand 
down & back, to make clearer the act represented 2 meas 

Take 2 quick steps diagonally forward to R (R & L), & listen to the echo with 

R hand at ear 2 meas 

4 meas 

This Fig. represents dancing for joy at the sound. 

^Turn to L once around with Step swing twice (L & R; ct !, 2, 3, 4). The arms are 

3rd pos. L up & the reverse 2 meas 

2 gentle leaps toward L (L & R; ct 1 , 2), another leap onto Lf facing to L (ct 3), 
& hold with Rf lifted backward (ct 4) . On the last leap extend both arms diag- 
onally forward & upward equally high, palms down, & bend the trunk & head far 



back 2 



meas 



Repeat all 3 times more, starting with R & L & Rf 12 meas 

16 meas 

INTERLUDE 

Repeat the previous Interlude but use both hands to call & both hands at R ear to 
listen. Be sure that the elbows be well lifted in both of these attitudes 4 meas 

*iv* 

Moving diagonally forward to R starting Rf, Slide, hop, leap, leap, (gently), (ct I, 2, 
3, 4), with arms in 3rd pos. amp. R up, & making a beckoning motion with R arm on 
ct 4 2 meas 



The Echo 4 
Repeat starting Lf moving diagonally back to L . . 2 meas 



Repeat all 4 



meas 



meas 



INTERLUDE 

Stand on Rf & with both arms make 3 beckoning motions diagonally to R in quick 
succession (ct 1, 2, 3), & pause (4, 5, 6). The arms are diagonally forward, upward 
& apart, the R arm higher 3 meas 

Step Lf across in front of R & beckon with both arms once only & pause .... 2 meas 

5 meas 

* V * 

Moving diagonally forward R take 2 Skipping steps (ct 1, 2), & slide hop on Rf 
(ct 3, 4) . The arms are 3rd pos. amp R arm up 2 meas 

(A skipping step is hop step to 1 ct, lifting the knee forward) 

Make a backward semicircle in the air with Lf & turn once or twice around to L with 
many little steps on the toes (4 cts), finishing on Rf. The arms are 5th pos. Bend to 

R when starting to turn 2 meas 

Repeat all 3 times more starting to L, R & L alternately 12 meas 

16 meas 



*VI 



¥ 



Run to R turning once around to R with many little steps, arms in 3rd amp. with R up 
(ct 1,2), stand on Rf listening with R hand at ear (ct 3), & hold (ct 4) . . . 2 meas 



The Echo 5 
Repeat to L & R 4 meas 

Moving to L Step swing twice (L & R; ct 1, 2, 3, 4), with arms in 3rd pos. L arm 

up & the trunk facing forward, twisted to R 2 meas 

4 running steps in same direction & position (cts 1 — 4), & 1 more emphatic step on 
Lf, facing to L, extending L arm up & R arm down & back, & looking upward & bend- 
ing backward 3 meas 

1 1 meas 

POSITIONS OF THE ARMS 

1 st Position : The arms make a circle in front of the chest at the level of the middle of 
the chest. 

2nd Position: The arms are raised sidev.ays a little below shoulder level. 

3id Positiori: The R arm makes a half-circle over & in front of the head & the L is in 
2nd pos. Reverse for "L arm in 3rd pos." 3rd Position Amplified is the same, except 
that the raised arm is less curved 

4th Position: The R arm make a half-circle over & in front of the head & the L is in 
1 st pos. Reverse as above. 

5th Position: Both arms make a circle over & in front of the head. Lateral Positions 
have one arm in 2nd pos. & the other in 1st, 





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771 




Tbe Cljslif Nopmal School of hmm 



NWW v< 



The Fairy Queen 



Allegro. 

2 



i.rr. hy Louis H.Chalif. 



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The Fairy Queen 

A Simple Esthetic Dance, 
by 

Louis H.Chalif. 



I. 

Step R ft to side (count l), swing L ft across in front & hop on R ft 
(ct 2), 1 chasse diag. forward to R starting with L ft (cts 3 and 4). 
(Chasse is slide L ft forward, bring R ft up to L ft & slide L ft 

forward again.) Arms Sid position 2 Meas. 

Slide R ft diag. forward (ct l), hop on R ft raising L ft behind (ct 2), 
step L ft to side (ct 3), step R ft back & courtesy (ct 4). Arms 5*]* 

position for slide hop & open to 2"^ pos. for courtesy 2 " 

Repeat all beginning to L,R & L 12 " 

16 " 
II. 

Slide hop diag. forward to R side (cts 1,2), 2 steps back L and R, 

(cts 3,4). Arms Sl^ & 2"ii pos 2 » 

Slide hop on L ft (cts 1,2). Slide hop on R ft (cts 3,4), raising the 

free ft behind each time. Arms 2'ld to 5th pos. each time 2 " 

Repeat all beginning to L,R c& L. . 12_ " 

16 " 

Interlude. 

Turn in place twice around with little steps on the toes, 

the feet being crossed in Stji pos. Arms Sth pos 3 Meas. 

Finish pointing R ft forward. Arms 2'1'i pos J_ " 

4 " 

III. 

Point R ft forward twice (cts 1,2), slide hop diag. forward on R ft 

(cts 3,4). Arms lateral to L side for point & Sid pos. for slide hop . . 2 Meas. 

Step L ft to side, step R ft behind, step L ft to side, 

& step R ft in front (cts 1,2,3,4). Arms 2ild pos 2 d 

Repeat all beginning to L,R & L. 12 ^ 

16 1, 



Continued. 



IV. 

step R ft to side (ct 1), swing L ft across in front (ct 2), step L ft 
forward (ct 3), hop raising R ft behind (ct 4). Arms 3rd & 5th pog_ 
Step R ft hack (ct l),hend L ft in front of R ankle without hopping 
(ct 2), point L ft forward & hold (cts 3,4), Arms lateral to R side. . 
Repeat all to L , R & L 



2 


Meas. 


2 


li 


12 


11 


16 


1) 



V. 

Moving diag. forward to L side, step R ft across in front of L ft (ct 1), 

step L ft to side (ct 2), & step R ft across behind L ft bending both 

knees (ct 3). Keep the feet in this position, bend the body forward, 

move the arms down toward the floor, raise them slowly to 5*]* pos. as if 

raising something from the floor (cts 3,4,1,2,3,4). Finish with the 

weight on the back ft (R ft), the body thrown back & the arms 5y> pos, . . 4 Meas. 

Repeat beginning L ft to R side 4 » 

Repeat all 8 " 

16 >' 

VI. 

Step R ft, swing L ft in front & chasse as in first step of this dance. . . 2 " 
3 steps to R side turning completely around to R & finishing on the 3^.'* 
count with a courtesy, with R ft behind. Arms 5*2* pos on turn & 2ld 

pos on courtesy 2 " 

Repeat to L & R 8 " 

Step L ft to side, swing R ft across in front, take 2 little steps 

toward L side & pause for 1 ct with arms in Sid pos 2 " 

Pivot turn to R side (cts 1,2,3). Arms 3i"d pos 1 " 

Step R ft across behind, bending knees, & raise arms to 5*J> pos. as 

in the 5th step ^ " 

:- - ' . ^' 17 " 

The Fairy Queen .6 






DANCES BY LOUIS H. CHALIF. irir^Vn^L'T^bLredTd'," 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2— Of a little difEculty, 

3— Rather difficult 

4 — DifBcult. 

d — Duet dance. 

g — Group dance. 

s — Solo dance. 



NATIONAL. $3 Each. 
Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. 
Tarantella. Neapolitan s. or g. 2. 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. .\ndalusian s. 3. 
La Gitana. Music only. Andalusian s. 3. SOc. 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. Austrian Peasant d. or g. 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. SOc. g. I. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasatchok, Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g. 3. 
Csardas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 4. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek For 12 young women. 2. 
Greek Maidens Playing Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Oriental Interpretive s. or g. 2. 

BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
Description only, SOc. 



the 



Aeroplane Glide. 
Dream Waltz. 3 
Hesitation Waltz 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northamton Glide. 2. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp., $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. I. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 

La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess, $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 



FOLK. .« Each. 



-The numerals used 
nuch easier grades 



ith these dances 
in in the other 



categories. 

Manchegas. Spanish. 3. 

Zorongo. Spanish. 3. 

Farandole. Provencal. 1. 

Tourdion. Old French. 2. 

Bourree. Old French. 3. 

Le Tambourin. Old French. 2. 

Fricassee. C)l(l French Soldier Polka. 2. 

Norman Folk Dance. Old. 2. 

Wooden Shoes. Dutch. 2. 

Windmill. Dutch. 3. 

Rustic Dance. Old English. 1. 

Morris Dance. English. 1. 

Maypole Dance. English. 1. 

Thanksgiving or Festival Dance. 2. 

The Wheel, .\thletic. for men or boys. 2. 

Old Welsh Dance. 2. 

Highland Schottische. 2. 

Irish Lilt. 2. 

Long Dance. Swedish. 1. 

Ring Dance. Swedish. 

First of May. Swedish. 

May Dance. German. 1. 

Westphalian Peasant Dance. 

Cracovienne. Polish. 2. 

Goralsky Taniec. Polish. 

Russian Wave Dance. 1. 

Pletyonka. Russian. 1. 

Snow Storm (Miatelitza). 

Khorovod (The Crane). 

Lujock. Russian. 1. 

Kolomeika. Russian 2. 

Strasak. Bohemian. 3. 

Baborak. Bohemian. 2. 

Ritka. Hungarian. 3. 

Csehbogar. Hungarian. 1. 

Bulgarian Folk Dance. 1. 

Snake Dance, ."^mer. Indian. 

Scalp Dance. .Amer Indian. 



SOc. With folk song 



1. 



Russian. 1. 
Russian. 1. 



ESTHETIC. 
The Blue Bird. s. or g. 4. $3. 
Bluette Polka, s. or g. 3. $3. 
Esthetic Waltz. Music only. s. or g. SOc. 
Eugenie Onyegin. Waltz s. or g. 3. $3. 
The Fairy Queen, s. or g. 2. $3. 
Fireflies, s. or g. 2. $2. 
The Golden Butterfly, s. or g. 4. $3. 
Mignonnette. s. or g. 1. $2. 
The Nightingale, s. or g. 2. $2. 
Pizzicato, s. (or g.) from ballet Sylvia. 2. 
Polka Miniature, s. or g. 2. $3. 
Poppies, s. or g. 1. $2. 
Three Fair Maids, s. or g. 3. $3. 
Valse Brillante. s. or g. 3. $3. 
Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 



$2. 



DEMI-CHARACTER. 



Each. 



The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. Frencii d. 2, 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s, or g. 1. 

The PoUsh Princess. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3, 

L'Automne (Bacchanal), d. 3. 



CONTRA. 

Arkansas Traveler. 2, 
Beaux of Oak Hill. 2. 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



SOc. Each. 

Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 

EXERCISES. 
The Classical Exercises for Technique. 

An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING " ^'^ ^'•""' 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure. 



FIREFLIES 

A SIMPLE ESTHETIC SOLO DANCE 

By LOUIS H. CHALIF 

other Esthetic Dances by Mr. Chalif are listed below, each number containing 
music and description. They can be procured only from 

The CHALIF NORMAL 
SCHOOL of DANCING 

7 WEST 42ND ST.. NEW YORK 

The Blue Bird. s. or g. 4. $j. Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 

Bluette Polka, s. or g. 3. $3. Polka Miniature, s. or g. 2. $3. 

Esthetic Waltz. Music only. s. or g. 50c. Poppies, s. or g. 1. $2. 

Eugenie Onyegin. Waltz s. or g. 3. $3. Three Fair Maids, s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. Valse Brillante. s. or g. 3. $3. 

Fireflies, s. or g. 2. $.?. Midsummer Night's Dream: The Dance of the 
The Golden Butterfly, s. or g. 4. $3. Fairies. 12 or 24 girls. 1. $3. 

Mignonnette. s. or g. 1. $2. Papillons d'Amour. Waltz time g. 3. $3.00. 
The Nightingale, s. or g, 2. $2. 

SEE BACK COUER FOR EXPLANATION OF ABBREVIA- 
TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR. 

Copyright. 19lC< by Louis H. Chalif 



&Cf)3.1lffiopi82lScf)oolorOaneJ0 4 



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arr. by LOUIS H. CHALIP. 



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FIREFLIES 

^ Simple Esthetic Solo Dance 
by 

LOUIS H. CHALIF 



The dance should be performed with vivacity. 

I. 

Slide hop diag. forward on Rf 1 meas 

3 running steps in same direction ( L, P\ &- L i . arms 3rd pos ^ 1 meas. 

Kepeat all in same direction 2 meas. 

Move backvi/ard &- turn completely around to R side with step hop on Rf &- step hop on Lf, each 
time raising the free ft behind. Arms 2nd 6- 5th pos 2 meas. 

3 steps backward (K, L &- K), or else change 3 times moving backward 1 meas. 

Point Lf forward (ct I ) &- hold (cts 2, 3). Finish with arms lateral to R side 1 meas. 

Repeat all starting Lf 8 meas. 



16 meas. 
II. 

Step Rf to side (ct 0, step Lf back (ct 2) &- step Rf to side (ct 3) I meas. 

Point Lf in 2nd poi.; arms lateral I meas. 

Turn completely around to L side with slide hop hop on Lf. Arms 3rd pos 1 meas. 

Step Kf back &- leave Lf pointed forward (ct I ); hold same pos. (cts 2, 3). Arms lateral to R side 

1 meas. 

Repeat all starting L, R &- L 12 meas. 

16 meas. 

IK. 

Step Rf to side (ct 1 ), bring Lf up to Rf in 1st pos. (ct 2) &- open the heels &- strike them together 

( ct 3 ) 1 meais. 

Repeat same twice more to R side. Arms 3rd pos. with palms in 2 meas. 

Slide hop hop on Rf Arms 3rd pos. with palms down 1 meas. 

Repeat all to L, K &■ L .12 meas. 



16 meas. 



(U. 

1 backward pas de basque in place starting Kf Arms lateral to R side 1 meas. 

Slide hop on Lf to L side. Arms 3rd pos I meas. 

Step Rf to side (cts 1, 2 ) draw Lf toward Rf &■ step Lf behind Rf (ct 3). Arms 2nd pos... I meas. 

Slide hop on Rf to R side- Arms 5th pos. I meas. 

Kepeat all to L, R &- L ...12 meas. 

16 meas. 

u. 

Step Kf to side (ct 1), brush Lf forward (ct 2). &- point Lf forward (ct 3). Do not hop on Rf 
Arms 3rd pos. 1 meas. 

Keeping the feet in the same pos. (Lf forward) take 3 running steps in place (L, K &- L) lifting the 
knees high. Arms 5th pos. I meas. 

Repeat all starting Rf again 2 meas. 

Slide hop hop on P-\f Arms 3rd pos. I meas. 

Repeat same on Lf i I meas, 

3 steps backward ' R, L ^ R/ &- point Lf forward. Finish with arms lateral to R side 2 meas 

Repeat the first 4 meas. of this figure starting Lf 4 meas 

Slide hop hop on Lf I meas 

Cut Lf out with Rf &- slide hop hop on Lf again I meas 

Move backward and turn completely around to K side with 3 steps, starting Rf. Arms 3rd pos 

i meas 

Step on Lf 'ct I ) and hold 'cts 2, 3). Arm? 3rd pos. L hand up I meas 

Repeat these 2 meas. Twice more moving backward 4 meas 

Take Rf back and courtesy I meas 

Step Lf forx^ard 1 meas. 

Step Rf forward and hold. Open arms to 2nd pos 3 meas 

25 meas 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed or 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

I— Easy. 

2 — Of a little difficulty. 

3— Rather difficult 

4— Difficult. 

d— Duet dance. 

g — Group dance. 



n 



Each. 



$5. 



NATIONAL. 

Saltarella. Sicilian d. or g. 2. 

Siciliano. Sicilian s. or g. 2. 

Tarantella. Neapolitan s. or g. 2. 

Bolero. Spanish s. or g. 4. 

Madrilefia. Spanish s. 3. 

Cachuca. Spanish s. or g. 3. 

La Feria. Spanish s. or g. 3. 

Ole Gaditano. Andalusian s. 3. 

La Gitana. Music only. .Andalusian s. 3. 50c. 

La Paloma. Mexican s. or g. 4. 

Pavane. Old French d. or g. 2. 

Chaconne. Old French d- or g. 2. 

Gavotte. French s. or g. 2. 

Minuet de la Cour. For 4 couples 

Queen of Swords. Minuet for 12 or 8 couples. 2. 

Tyrolienne. .Austrian Peasant d. or g. 2. 

Polska. Swedish d. or g. 2. 

Polonaise. Music only. 50c. g. 1. 

Krakowiak. By Glinka: d. or g. 2. 

Maid-of-Honor. Mazurka s. 4. 

Russian Quadrille. For 8 couples. 2. 

The Bride's Dance. Russian pantomime and s. 

Kasatchok. Russian peasant d. or g. 3. 

Donskoi Cossack Dance, s. or g. 3. 

Csardas. d. or g. 3. 

Csardas. s. or g. 3. 

The Magyar. Csardas s. or g. 3. 

Hungarian Rhapsody, do. Mus. only. 50c. s. 

Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each'. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek. For 12 young women. 
Greek Maidens Playing Ball. Very effective. 2. 
Spirit of Sprigg. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Orie:.tal Interpretive s. or g 
BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 

Description only, SOc. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett. Glide. 2. 
Northamton Glide. 2. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp., $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. ?3 Each 
Light and Darkness. Greek duet «-ith pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 

La Fete de Jardinier. Pantomime & 6 dances. $10, 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 



FOLK. $1 Each. 



Note: 



ncrals used 
ier grades 



than 



-The 
denote much 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel, .'\thletic, for men or boys. Z. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 
Long Dance. Swedish 
Ring Dance. Swedish. 
First of May. Swedish. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Cracovienne. Polish, 2. 
Goralsky Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm ( iliatelitza). Russian. 
Khorovod (The Crane). Russian. 
Lujock. Ixussian. 1. 
Kolomeika. Russian 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1 
Scalp Dance. ,\mer- Indian. 1. 



these dance 
n the othe 



1. 
1. 

SOc. 



With folk song. 1. 



ESTHETIC. 
The Blue Bird. s. or g. 4. $3. 
Bluette Polka, s. or g. 3. $3. 
Esthetic Waltz. Music only. s. or g. SOc. 
Eugenie Onyegin. Waltz s. or g. 3. $3. 
The Fairy Queen, s. or g. 2. $3. 
Fireflies, s or g, 2, $2. 
The Golden Butterfly, s. or g. 4. $3. 
Mignonnette. s. or g. i. $2. 
The Nightingale, s. or g. 2. $2. 
Pizzicato, s, (or g.) from ballet Sylvia. 2. $2. 
Polka Miniature, s. or g. 2. $3. 
Poppies, s. or g. 1. $2. 
Three Fair Maids, s. or g. 3. $3. 
Valse Brillante. s. or g. 3. $3. 
Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d'Am.our. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

Tlie Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalougie. s. or g. 4. 

lean et Jeannette. F'rench d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

bailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s. or g. 3. 

yiarysia. Polish s, or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russ an Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1.. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 



CONTRA. 

.Arkansas Traveler. 2. 
Beaux of Oak Hill. 2 
^lowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



SOc. Each. 

Petronella. 2. 
Pop Goes tfie Weasel. 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 



EXERCISES. 
The Classical Exercises for Technique. 

.•\n entirely new and much enlarged collection of 
43 beautiful pieoes of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING t 



Few •Words 
onceming It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the b'^hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

l3t: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simpHfied, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowins; an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivatin? 
to the student, an(l furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most oi't^tanding success, 
especially in three particulars. First, the use of the Anii.s and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
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2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From g 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, coiTi;:lete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during Jime and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house. 



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FLEMISH FOLK DANCE 

Arranged by LOUIS H. CHf^LIF 



Price $1. Other Folk Dances, at the same price, arranged 
by Mr. Chalif are iisted below. They can be procured only from 

TheCHALIF NORMf^L 
SCHOOL of DANCING 

7 WEST 42ND STREET. NEW YORK 



Flemish Folk Dance 

Tatra Dance 

Zorongo. Spanish. 3. 

Manchegas. Spanish. 3. 

Fricaasie. Old French Soldier Polka. 2. 

Bourree. Old French. 2. 

Tourdion. Old French. 2. 

Forlane. Old French. 2. 

Farandole. Proveni;al. 1. 

Le Tambourin. Old French. 2. 

Norman Folic Dance. Old. 2. 

Old Welah Dance. 2. 

Highland Schottische. 2. 

Irish Lilt. 2. 

Wooden Shoes. Dutch. 2. 

Windmia Dutch. 3. 

Bavarian Folk Dance. 1. 

May Dance. German. 1. 

Westphalian Peasant Dance. 2. 

Mountain Trio Dance. Norwegian. 2. 

Long Dance. Swedish. 1. 

Firit of May. Swedish. 50c. With folk song. 



Slovak Folk Dance 

Cola Serbianka 

Ring Dance. Swedish. 1. 

Cracovienne. Polish. 2. 

Goralski Taniec. Polish. 1. 

Khorovod (The Crane). Russian. 1. 

Snow Storm (Miatelitza). Russian. 1. 

Russian Wave Dance. 1. 

Pletyonka. Russian. 1. 

Troika. Russian. 2. 

Lujock. Russian. 1. 

Kolomeika. Russian. 2. 

Stras&k. Bohemian. 3. 

Baborak. Bohemian. 2. 

Ritka. Hungarian. 3, 

Csehbogar. Hungarian. 1 

Bulgarian Folk Dance. 1. 

The Wheel. Athletic, for men or boys. 2 

Scalp Dance. Amer. Indian. 1. 

Snake Dance. Amer. Indian. 1. 

Thanksgiving or Festival Dance. 2. 



SEE BACK COUER FOR EXPLANATION OF ABBREUIATIONS 
AND LIST OF DANCES BV THE SAME AUTHOR 

Copyright. 1915. by Louis H. Chalif 



FLEMISH FOLK DANCE 



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Soutfi l|. Qlltaltf 

The music is counted 1, 2 to a measure; when 4 counts are named a second meas- 
ure is included. 

The formation is by couples around the room, all facing in line of direction. 

I. 

Partners join inside hands. The boy's outside hands are sideways at sholder level, 
& girl's hold the skirt. 

2 Chasses forward starting outside tt. (boy L, girl R) - - -2 meas. 

[A Chasse is slide on Rf forward (ct 1 ), close Lf to Rf (ct and ) & slide on Rf forward a- 
gain ct 2 ] 

4 skipping steps forward in line of direction, boy starting Lf (4 cts) . 2 meas. 

[A skipping step is a hop step to 1 ct.] 

Repeat all . . . . . ... 4 meas 

Release hands. The music plays somewhat slowly for the next 8 meas. 

Change places with each other &. finish facing each other, with 3 walking steps, 
boy starting Lf , girl Rf, (ct 1, 2, 3) & close Rf to Lf - boy's part - ct 4 . 2 meas 

Keeping the heels together bow to each other from the waist slowly. 

The boy's hands are hanging down, the girl's hold skirt . 2 meas 

Repeat returning to original places ..... 4 meas 

Repeat the first 8 meas of this fig. . . . 8 meas 

24 meas 
11. 

Join inside hands, & raise the outside arms sideways at the shoulder level. 1 
chasse, boy starting Lf - girl Rf -(ct 1 and 2,) step Rf forward (ct 3,)&. point L toe back- 
ward rather decisively, lifting the ft backward from the knee to do so (ct 4.) While 
pointing, partners are back to back & look around toward rear over the outside shoulders 
& their joined hands are lifted forward & upward ... 2 meas 

Repeat 7 times more, always starting outside ft ... . ^4 meas 

16 meas 

in. 

Release hands; boy starting Lf - girl R - &. each dance in an individual little 
circle - away from partner - with 2 chasses starting Lf, & 4 skipping steps toward 
partner .... . . . . 4 meas 

Join both hands with partner, hold them sideways at shoulder level, &. repeat the 
same steps, but turning once around to R with the 2 chassis &. turning once again with 
the 4 skipping steps. . . . . . . . 4 meas 

8 meas 



FLOWER WALTZ 



SAMPLE COUPLE WALTZ SERIES. ¥Q1 CIRCULAR FORMATION 

Arranged b¥ LOUIS B. CHALIF 

PRICE 0N£ DOLLf)R 



OTHER SIMPLE COUPLE DANCES. WITH THE SAME AUTHORSHIP & PRICE. 
ARE LISTED BELOW. MUSIC & DESCRIPTION ARE INCLUDED. UNLESS OTHER' 
WISE STATED. THE NUMERALS INDICATE PROGRESSIVE DEGREES OF 
DIFFICULTY. Hi Hi THE DANCES CAN BE PROCURED ONLY FROM 



THE CHALIF FORMAL 
SCHOOL OF DANCING 

7 WEST 42nd STREET, NEW VORK CITY 

Galanterie Schottlsche 2 Abandon Mazurka Series 3 

Sunbeams Poika Series 2 Svlvla Waltz 3 

The Princess Schottische 2 Gavotte Waltz 2 

Ta-tao Chinese 3 Mazup Waltz 3 

Flower Waltz Senes 3 ROUll-ROUll Exhib BIr 2 

The Countess Gavotte 2 Gavotte DIrectoire Paviowa s 3 

Minuet Waltz 2 

SEE BACK COUER FOR OTHER DANCES BY THE SAME AUTHOR 

COPYRIGHT 1915 BY LOUIS H. CHALIF 



The Flower Waltz 



Tempo di Valse 



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The Flower "Waltz s 




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Flower Waltz 

SIMPLE SERIES FOR ONE OR ANY NUMBER OF COUPLES 

Arranged by 
LOUIS H CHALIF 

(\ Whefi many couples are to perforn^ rhis dance they are arranged in circular formation, &- 
progress around the room as in ballroom dancing. Q Each dancer carries a rose, usually in the 
R hand, but sometiines changed to the L (| The boys pairt will be descrihed — the girl's is 
opposite unless otherwise stated ^{ The music is counted 1, 2, 3 to a measure, 6 ds indicate 
that a 2nd meas has been used. 

^ I. ^ 

Face partners, loininj,' L hands with R hands held hlg^l Slide h^p ori L (girls R) t in line 
of direction, lifting Rf behind (d 1 2, 3), &- 3 running steps in same diredion starling Rf 
(d 4. 5 6) " 2 meas 

Repeat 2 meas 

Keeping L hands loined, dance once around each other with 4 sinali pas de Basque starling 

Lf (girl's Rf) On the 1st pas de Basque swing the R arms, holding the roses to 5th pes 

£r bend sidexA/ays at the waist towards each other: on the 2nd pas de Basque swing the 

R arms down to 2nd pos &• bend away from each other 4 rTieax 

(Pas de Basque is: leap on Rf to side (d I), step on Lf across m from of Rf (et 'D 

&- bring Rf up to Lf cutting Lf out forward (d 3)) 

Kepeat all 3 time more 24 meas 

32 ine^s 



m It. m 

Repeat the first 2 meas of I 2. meas 

Release hands &■ turn completely around (away from each other) with a tour de Basque, 
fhus boy step Lf to L side (d 1), cross Rf in front of Lf (d 2), turn on both toes (d 3). 
6- rest (d 4. 5. 6), The arms are 2nd. 5th &■ 2nd pos. 2 meas 

Join L hands again, hold R hands high £r dance around each other once with Slide hop on 

Lf (g'll Rf), lifting Rf behind, (d I, 2, 3). 3 running steps starting Rf (d 4. 5. 6), £r repeat 

samt (c ds). . 4 meas 

Repeat ail 3 times more . . 24 meas 

32 meas 

m (iL m 

In rhb Fig there is no progression around the room, fer the bov >. t girl s parts are slightly dif- 
^e^enl Begin with L hands joined &- partners facing each other The boy's pan is: Srep Lf 
Acrosb in from of Rf &■ hop lifting Rf behind (I meas': step Rf diag forward to R &• hop 
iil'nivg Lr behind il meas;: step Lf to L side (d I, 2>. step Rf across oehied Lf (<1X 3: comp 
leiin^ I meas). step Lf to L side &- hop lifting P\f behind wi 4, 5, 6—1 measi 4 meas 

Tf^^ girl in the above does: step Rf to side &- hop swinging Lf across .n front ; ! meas step 
en U across in front of Rf &- hop lifting Rf behind (| meas), step Rf back (d 1. 2' step Lf to L 

iide (ct 3. completing I meas): step Rf across in front of Lf &- hop lifting Lf behind (d 4, 5, 6) . I meas 

Join R hands i- boy repeat his previous steps, but starting Rf t e . crossing Rf over Lf, while girj 
repeats her previous steps, but starts Lf to L side , 4 meas 

Repeat all ,8 meas 

l6 meas 

m lu. m 

4 pas de Basque dancing once around each other, boy starting Lf &- girl Rf Join L hands 
firs hold the roses in R hands €r swing R arm to 5th pos . bendm^i lowaro partnei on 
jst me»s, then swing R arm down to 2nd pos bending away from partner . 1 ^eas 



Flower Waltz 3 
Keep L hands joined &■ moving in line of dire'f>ion do Slide hop startiM? Lf ' boy's part — d I , 

2, 3' &- 3 running steps starting Rf idX 4, 5, 6> Thie R hands are Field high 2 meas 

Kepeat same " , 2 meas 

Kepeai all .■ 8 meas 



16 



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Keeping L hands joined, slide hop &- 3 running steps starting Lf as at end of previoub Fig 2 meas 

Repeat same 2 meas 

Release hands Tour iete to L side (girl to R side) as follows: first releasing hands boy step 
Lf to L side id 1, 2) leap onto Rf turning completely around to L 'd V\ step Lf* to 
L side (d 4, 51, &- hop on Lf swinging Kf across in front (d 6). The arms are 2nd 

5th to- 2nd pos ? mea--- 

Repeat same, boy starting Rf &- turning to R 6- girl doing the reverse 2 meas 

Repeat all, but instead of the last turn, boy step Rf to side, bring heels togehter &- bow. S- 
the 2'' I slep Lf to side, bring Rf back &- courtesy. Or if the dance be executed by 2 
girls of cours? both make 8 courtesy 



meas 
16 meas 



POSITIONS OF THE ARMS 



1st Position : The arms make a circle in front of the chest at the level of the middle of the chest 

2nd Position : The arms are raised sideways a little below shoulder level. 

3rd Position : The K arm makes a half-circle over &- in front of the head £r the L is in 2nd pos 

Reverse for " L arm in 3rd pos- " 
3rd Position Amplified is the same, except that the raised arm is less curved, 
4th Position : The K arm makes a half'circle over &■ in front of the head &- the L is in 1st pos 

Reverse as above. 
5th Position : Both arms make a circle over &- in front of head. 
Lateral Positions have one arm in 2nd pes. &- the other in 1st. 



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:s BY LOUIS -e, cwalw. 



iho toiiovving list oi dances comoosed o;' 
arranged, copyrighted, published and for 



sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



2 — Of a little difficulty. 
3— Rathtr difficult 
4— Difficult. 



NATIONAL. $3 Each. 
I'urlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2, 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrileiia. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $S. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Folska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-o£-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For S couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian-peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
Pnd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
ajid dance, in 3 parts. 2. 



BALLET. 

La Fete de Jardinier. Pantomime and 
six dances. $10. 

Christmas Festival Series of Dances. 
Suitable for a Kirmess. $5. 

"he Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 

THE CMALIJ 



es. 



FOLK. $1 Each. 
Note:— The numerals used with th 
Folk and Contra dances denote mucl 
easier grades than in other c 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
ii'orlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. SOc. w. folk song. 
Mountain Trio Dance. Norwegian. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. I. 
Russian Wave Dance. I. 
Pletyonka. Rus-sian. 1. 
Snow Storm (Myatelitza). Russian. 
Khorovod (The Crane). Russian. 1, 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance, .^mer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



SOc. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1, 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 
(LaTempete).l. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2/ 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2, 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Orientallnl. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3'. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi^rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $3j 
The Fairy Queen, s or g 2. $3. 
iireflies. s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowfiake. s. or g. L $2,'. 
Midsummer Night's Dream; Dance of 

the Fairies. 12 or 24 giris. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3.. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1, 

Furlana. 2. I Minuet Waltz. 2. 

I.a Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Wait*. 2.. 

MazurWaltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published bv the school, 
at $.50 and up. 

MUSIC for the newest ballrootn' 
dances, in the pieces most approved by 
us and the public, is carried in stock af 
prices from 25 cents uu. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the- 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to .the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50_ 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the- 
Chalif School. Third edition; a new 
collection of 47 beautiful pieces, unusedl 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



^iAL. SCHOOL OF DANCING 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recrsation supervisors and public 
school teachers, and teachers of physical training. Its work wit!i 
these classes has met with tremendous success. "Chalif dancing" and 
the i';hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st; CHALIF DANCING 

Tnis is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
v/ithout debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated 0"= separate branches, but almost all 
the beauty of the original, and quit," all of its spirit and scope iiave 
been retained. The result is an art wtiich while allowing an amateur 
to make rapid progress is yet puthentic, b.'autiful, utterly captivatinq' 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grae^, aiid a soul-deep development estheticslly. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding succr-"'=:, 
especially in th'-ca particulars. First, the use of the Anns and the 
rest of the b"c./ has been kept equally important with the use of the 
feet. See: lid, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
Ai-erican public. 

When tausht to teachers it includes more than this, for an exeel- 
le:.t training in Pedag ogy is furnished. By the time of graduation 



A Few Word*. 
Concerning It 

2nd; L. H. CHALIF 

The second factor i" the immense success of this School has 
been the experience and teaching ability of its principal. From 9- 
years of age a studer^t Ir. f.c Imperial Ballet School of Russia, in 
Moscow, then successive'y a solo stage dancer, ballet master at the 
Odessa government theater, instrucLor of dancing in leading New 
York private schools and director of the Chalif Normal School, his; 
experience has been long, complete and invaluable to his pupils. . . , 
A ceitcin ability at teaching has also made the school popular, 
although it has prevented the use of assistants, s-nce it has been- 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd; LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4iii: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause- 
for the fame of the Chalif Schoci. Everywhere there is a demanr" far 
th-t real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school witn 
c-'.sses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions- 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs^ 






THE FOREST SPIRITS 



QreeH Group Dance 

LOUIS H. CHALIF 



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THE CHALIF NORHRL SCHOOL OF DAIfCING . 

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ESTHETIC AND 6/?EE/f DANCES 
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DIAGRAMS 



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DANCES BY LOUIS H. CHALIF. ::';J^r^iXCltZy.SZfZ 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1— Easy. 

2— Of a litUe difficulty, 

3 — Rather difficult. 

4 — Difficult. 

d— Duet dance. 

g — Group dance. 

s — Solo dance. 



NATIONAL. 

or g:. 



Each. 



Saitarella. Sicil 

Siciiiano. Sicili; 

Tarantella. Neapolitan s. or g. 2. 

Bo.ero. Spanish s. or g. 4. 

Madrilena. Spanish s. 3. 

Cachuca. Spanish s. or g. 3. 

La i-eria. Spanish s. or g, 3. 

Ole Gaditano. Andalusian s. 3. 

La Gitana. Music only. .'Vndalusian s. 3. 50c. 

La Paloma. Mexican s. or g. 4. 

Pavane. Old French d, or g. 2. 

Chaconne. Old French d. or g. 2. 

Gavotte. French s. or g. 2. 

Minuet de la Cour. For 4 couples. $5. 2. 

Queen of Swords. Minuet for 12 or 8 couples. 2. 

Tyrolienne. .Austrian Peasant d. or g. 2. 

Polska. Swedish d. or g. 2. 

Polonaise. Music only. 50c. g. 1. 

Ilrakowiak. By Glinka; d. or g. 2. 

Iviaid-of-Honor' Mazurka s. 4. 

Russian Quadrille. For 8 couples. 2. 

The Bride's Dance. Russian pantomime and s. 2. 

Kasatchok. Russian peasant d. or g. 3. 

Donskoi Cossack Dance, s. or g. 3. 

Csard^s. d. or g. 3. 

Csardss. s. or g. 3. 

The Magyar. Csardas s. or g. 3. 

Hungarian Rhapsody, do. Mus. only. 50c. s. 4. 



Saibar 



Jap a 



$3 Eac 



GREEK AND INTERPRETIVE, 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek, For 12 young wo 
Greek Maidens Playing Ball. Very effectiv 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Oriental Interpretive s. 
BALLROOM. 
Music and Description, $L 
The Countess. 2. I Sylvia Waltz. 

Minuet Waltz. 2. I Gavotte Walt 

Kazur Waltz. 2. 
Description only, 50c. 



Aeroplane Glide. 
Dream Waltz. 3, 
Hesitation Waltz 



Mignon Waicz. 2. 
Narragansett Glide. 
Northamton Glide. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Afgen- 
tine Tango. 12 pp.. $3. 

Twinkle Waltz. 2 

Waltz, The. 

West Point Glide. 1, 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet lor 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 

La Fete de Jardinier. rantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. %5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 



The n 


umerals 


used with 


these danc 


luch e 


asier gr 


ades than 


n the oth 



Manchegas. Spanish. 3. 

Zorongo. Spanish. 3. 

Farandole. Provenqal. 1. 

Tourdion. (,)ld French. 2. 

Bourree. Old French. 3. 

Le Tambourin. Old French. 2. 

Fricassee. Old French Soldier Polka. 2. 

Norman Folk Dance. Old. 2. 

Wooden Shoes. Dutch. 2. 

Windmill. Dutch. 3. 

Rustic Dance. Old English. 1. 

Morris Dance. English. 1. 

Maypole Dance. English. 1. 

Thanksgiving or Festival Dance 



The Wheel. .-Mhletic. for me 


I or boys. 2. 


Old Welsh Dance. 2. 




Highland Schottische. 2. 




Irish Lilt. 2. 




Long Dance. Swedish. 1. 




Ring Dance. Swedish. 1. 




First of May. Swedish. SOc. 


With folk song 


May Dance. German. 1. 




Westphalian Peasant Dance. 


2. 


Cracovienne. rdish. 2. 




Gdralsky Taniec. Polish. 1. 




Russian Wave Dance. 1. 




Pletyonka. Russian. 1. 




Snow Storm ( Miatelitza). R 


issian. 1. 


Khorovod (The Crane). Rus 


,ian. 1. 


Lujock. Russian. 1. 




Kolomeika. Russian 2. 




Strasak. Bohemian. 3. ■ 




Baborak. Bohemian. 2. 




Ritka. Hungarian. 3. 




Csehbogar. Hungarian. 1. 




Pulc'aripn Folk Dance. 1. 




Snake Dance. .Amer. Indian 


L 


ScalD Dance, .\nier, Indian. 


1. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. SOc. 

Eugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. I. $3. 
Papillons d'Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. French d. 2, 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s, or g. 1. 

The Polish Princess. Polish s. or g. 3. 

Marysia. Polish s, or p. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. ' 



CONTRA. 

Arkansas Traveler. 2, 
Beaux of Oak Hill. 2. 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



SOc. Each. 

Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Joy. 2, 
Speed the Plow. 3. 
The Tempest (la Tern 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 



EXERCISES. 
The Classical Exercises for Technique. 
1 entirely new and much enlarged collectioi 
beautiful pieces of music, with the names 
ief descriptions of the corresponding Junior 
nior exercises. Price, $3.00. 



THE CHALIF NORMAL SCMOOL OF DANCING 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with, 
these classes has rnet with tremendous success. "Chahf dancing" and 
the school which radiates it have come irt'' a North A-^et-jcan repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

l3t; CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which whi'" a"o""'ncr an a"iateur 
to make rapid progre-s is yet authentic, beaut'ful. utterlv c-cti^atinp- 
to the student, and furthermore bringing health, kno led-e of r-f-ial 
character, alertness, grace, and a soul-deep development e-thetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it ivith the most outstanding succe'=s, 
especially in three particulars. First, the use of the Jnns and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
: Ballroom dancing, an exhibition dancer and a composer of dances. 



A Few 'Words 
Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading Nev,' 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



THE FRENCH DOLL 



CHARACTERISTIC SOLO DANCE 

ARR. BV LOUIS H. CHALIF 

PRCCE $3.00. OTHER CHARACTERISTIC & DEMI-CHARACTER DANCES. 
BV L. H. CHALIF. ARE LISTED BELOW. AND DESCRIBED ON THE BACK 
COUER. THEY CAN BE PROCURED AT THE SAME PRICE & ONLY FROM 



THE 


CHALIF 


NORMAL 


SCHOOL 


OF 


DANCING 


7 WEST 42ND 


STREET NEW 


YORK CITY 


The Gipsy Beggar 




The Villagers 


The Gipsy Camp 




The Polish Princes 


Toreador et Andalouse 




Marysia 


Andalusian Gipsy 




Mazovian Maid 


The Beauty of the Alps 

Pompadour 

Jean et Jeannette 

Queen of Hearts 




White Rose Mazurka 
Stach i Zoska 
Russian Court Demce 

Wegierka 

The Hussar 


The Joy of the Rose 




America 


Columbine 




Bow and Arrow Dance 


The Village Belle 




La Creole 


Sailor's Hornpipe 




The Cherry Blossoms 


The Pied Piper 




Japanese Group Dance 



COMPLETE LIST OF DANCES ON BACK COUER 

COPYRIGHT 1915 BY LOUIS H. CHALIF 



The Fi^eneh Doll. 



Introduction. 

Allegretto. 



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The French Doll. 2 



V. 



The French Doll 

VERY SIMPLE CHARACTER DANCE 

For Solo or Group, Arrrangement by 

LOUIS H. CHALIF 



^ The costume is the traditional doll's dress, of light pink or blue, trimmed with lace & ruffles, 
& a blond wig of curling hair, short socks & slippers. 

\\ The dance should be executed stiffl}' & angularly as if the doll were run by machinery. 
The arms are always held with the elbows bent at right angles & quite close to the side, the 
forearms forward & the fingers straight. No further mention of the arms will be made, 
but they may move slightly from the shouldcs. 

U The polka in this dance is: Step Rf to side (ct 1 ), close Lf to Rf (ct and), step Rf to side 

(ct 2), & pause (ct and). 

^ The music is counted 1, 2 to a meas; cts 3 & 4 refer to a 2nd meas. 

Introduction 

Enter from back center ov back R corner of stage with 7 hops on both feet & finish 
facing audience (ct 1 and etc.). The music should gradually retard & then there be a 
pause, as indicated in the music. 



The French Doll 2 

I 

Remain standing with the heels together. Turn the head to R ^ sing "papa" as written in 
the music, & turn head to L & sing "mama." Sing in a very staccato manner, separating 
the syllables 2 meas 

1 polka step to R starting Rf (ct 1 and 2), & repeat with the Lf (ct 3 and 4). Keep the 
knees stiff & do not turn the toes down when stepping. Turn to face somewhat R when 
starting Rf & vice versa -. 2 meas 

Repeat all 3 times more 12 meas 

16 meas 

II 

7 running steps diagonally forward R starting Rf (ct 1 and 2 and etc.). The knees are stiff, 
the feet slightly separated, & with each step the weight is thrown visibly toward the ft which 
steps, making a slight swaying motion from side to side 2 meas 

2 polka steps starting Lf & moving backward. Turn slightly toward the ft which begins 
the polka 2 meas 

Repeat 3 times more, starting with L & R feet alternately, but the last time take only 1 polka 
step back (starting Rf) then 7 walking steps backward (ct 1 and 2 and etc.). The music 
retards on the last meas and there is a pause 13 meas 

These walking steps are to be taken instead of the usual 2nd polka step because the machinery 
has got out of order. 

17 meas 



The French Doll 3 

III 

Turn the head to R & say "pa-pa," "& to L & say "ma-ma" 2 meas 

2 polka steps forward, starting Rf 2 meas 

Repeat the first 2 meas 2 meas 

1 polka step backward starting- Rf 1 meas 

4 steps backward (ct 1 and 2 and) 1 meas 

Bend forward at the waist, in 3 jerky movements in time with the music, which also is 
retarding. The machinery is again getting out of order & jeopardizing the doll's balance 

1 meas 



9 



meas 



IV 

Point the R heel to side twice (ct 1, 2), & bend toward the R 1 meas 

3 polka steps traveling to R & turning around to R, with stifT knees, as always . . 3 meas 

Repeat all 3times more, starting L & R ft alternately 12 meas 

Bend forward in 3 movements, making a bow as in the previous Fig. (ct 1 and 2). The 
music becomes slower & then there is a pause 1 meas 



1/ meas 



The French Doll 4 

V 

Raise the trunk again & turn the head to R saying "pa-pa" & to L saying "ma-ma". .2 meas 

Keeping the feet together, turn once around to R in place by hopping from both feet 4 times 
(ct 1, 2, 3, 4) 2 meas 

Repeat all 4 meas 

Bend forward in 3 movements, as before, & pause 1 meas 

Slowly raising the trunk turn the head to R & say "pa-pa"; continuing to raise the trunk, 
turn the head to L & say "ma-ma." These 2 meas of music should be played very slowly 
& the words said hesitatingly. The machinery is again running down 2 meas 

Pause for 2 cts & during the pause sway backward as if about to fall 1 meas 

Run backward with many little steps toward the exit (ct 1, 2), bend far forward at the waist 
as if collapsing utterly ( ct 3), & hold (ct 4) 2 meas 



14 meas 



A chair perambulator may be employed, as thus : In the beginning the doll is wheeled 
in by an attendant; during the introduction she is taken out & placed on her feet; after 
the dance, as she runs backward the attendant pushes the chair toward her & she collapses 
into it on the last chord. 



FURLf)NA 

UENETtAN GONDOLIER SOLO 

^^t I RO(0fift^ JyOR^ CROUP 




THE DANCE RECOMENDED BV 
HIS HOLINESS 

POPE PIUS X 



Arrangement by 

Louis H. Chalif 

Published and for sale ONLV by 






^o 7 We-si 4^*^ cSitte^i: ^EW'^RK. 



See inner and back covers for other dances by the same author 



Copyright, l9lC^by Louis H. Chalif 



FURLANA 
Venetian "NATIONAL" Dance 
Arrangement for a ballroom couple dance, by 
Louis H. Chalif. 




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FURL^NA 

Uenetian "NATIONAL" Dance 
Arrangement for a ballroom couple dance, by 
Louis H. Chalif. 

The dance should be performed in a quick tempo CS. with spirit. 
The couples first form in a large circle around the room. 

I. 

Gentleman's R arm is around lady's waist, his R hand holds her R hand & their L 
hands are joined in front. 

Move forward around the room with the foUowing steps: Step swing twice, both starting R f, 

slide hop on R f lifting L f behind, & 2 running steps forward ( L& R ) 4 meas. 

Repeat beginning with L, R & Lfaltemately 12 " 

II. 

The position of the arms is the same as in Fig. 1, 
Both step R f to side ( ct 1 ), swing L f forward & hop on R f ( ct 2 ), point L toe 

in front of R toe in 5th pos. & hop on Rf ( ct 3 ), swing Lf forward again & 

hop on Rf ( ct 4 ) 2 

Keeping the same pos. of the arms, 

Turn completely around to the L, with slide hop on L f lifting R f behind & 2 steps 

(R^L) 2 " 

Repeat these 4 meas. 7 times more always starting with Rf 28 

If turning be to difficult the same step may be danced moving forward. 

T2~ " 

in. 

The pos. of the dancers is the same as in 1 and 2. 

Both begin with R f. Point R f diag. forward ( ct 1 ), bend R f in front of L ankle 

( ct 2 ). At the same time hop twice on Lf , i " 

Repeat , j >> 

4 running steps forward both starting Rf 2 " 

Repeat all 4 « 

T " 
lU. 

Pos. of arms is same as in previous Figures. 
Both begin R f. Gentleman's part is: Step swing twice (^ R CS. L ) moving forward, slide 
hop forward on R f CS, step L f in place. Lady's part is: Step swing twice ( R CB, L ) 
moving forward, slide hop on R f turning completely around to R iS, step L f back. 

keep the R hands joined while turning 4 " 

Partners now face each other, gentleman having lady at his R side. Gentle- 
man places his R arm around lady's waist, CS, lady places her R hand on. his L 
shoulder. Both L hands are raised. In this pos., 

Tum^ once or twice around with a pivot turn, i. e.: Step on R f with eadi ct of the 

music (cts 1, 2, 1, 2, 1, 2, 1), Lf bfeing crossed behind R f CBl, stepping in between 

the cts as if i^ushing the R f along. The accent is always on R f. The turn con- 
sists of 7 pivot steps ca. step on L f (ct 8 ) 4 

Repeat all starting Rf again , 8 " 

16~ " 



u. 

With the last step on Lf finish side by side CS, join both hands in front, the hands 

being crossed in skaters' pos. with the L hands up. 
Move diag. forward to R with 3 steps C®, swing the free ft forward. Both persons 

start Rf 2 

Repeat same backward to starting place, beginning Lf 2 " 

Repeat same diag. forward to L but starting with Rf 2 

Repeat same backward to starting place, starting with Lf 2 " 

~8~ 

UI. 

Pos. of arms as in Fig. 5; Both begin with R f. 

3 pas de basque fdrward (cts 1 C& 2 for each pas de basque). A pas de basque is: Step R 

f to Side & step L f. across in front of R f. These 2 movenients take 1 ct. Step 

R f close behind Lf (ct 2). The 3 pas de basque alternate R&L 3 " 

Gentleman turns the lady under their joined L hands. The lady steps L f to side & 

turns completely around to L on the ball of her L f. The gentleman with his R hand 
gives her the impetus for the turn, but drops his R hand as soon as she begins to 

turn, supporting here wnth his L hand only 1 " 

After the turn the gentleman presents his R hand again. 
Repeat all 3 times more 12 " 

uu. 

Take the regular dancing pos., i. e , the couple face each other CS. gentleman's 

R arm is around lady's waist, her L hand on his shoulder CS, their other hands 

joined. 

Move sideways, beginning with outside feet (gentleman R CS, lady L) with step swing 

twice 2 " 

4 slides forward beginning outside feet 2 

Repeat all 3 times more, eitch time beginning outside ft 12 " 

Is " 

The free hands may be held at the side at shoulder level if desired. 
Another way of dancing this figure is: Step swing twice ca. 4 running steps forward, repeat 4 
times in all. If performed in this way the free hands cemnot be joined. 



DANCES BY LOUIS H. CHALIF. The folJ,wing Hst of dances composed or 

'^'^■'■^•^'-"^ ^^ JL M^-^ -^ arranged, copyrighted, published and for 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2 — 0( a little difficulty. 

3 — Rather difficult 

1 — Difficult. 

d — Duet dance. 

g — Group dance. 

s — Solo dance. 



NATIONAL. $3 Each. 
Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. , 

Tarantella. Neapolitan s. or g. 2. ' 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. .Xndalusian s. 3. 
La Gitana. Music only. Andalusian s. 3. 50c. 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples. $S. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. .Austrian Peasant d. or g, 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. SOc. g. 1. 
Krakowiak. By Glinka: d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasatchok. Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g. 3. 
Csardas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 4. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek. For 12 young women. 2. 
Greek Maidens Playing Ball. Very efifective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Orie; tal Interpretive s. or g. 2. 

BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Walts. 2. 

Minuet Waltz. 2. 1 Gavotte Wall.-. 2. 

Kazur Waltz. 2. 
Description only, SOc. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original. 3. 
Manhauan Glide. 2. 
Maxi>:e. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett GHde. 2. 
Northamton Glide. 2. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp., $3. 

Twinkle Waltz. 2 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 

La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances, Suitable 

for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 

Note: — The numerals used with these dances 
denote much easier grades than in the other 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Froven<;al. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. ^ , 

Fricassee. Old French Soldier Polka. 2. , 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic, for men or boys. 2. \ 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 

First of May. Swedish. SOc. With folk song. 1. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Cracovienne. Polish. 2. 
Goralsky Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Miatelitza). Russian. 1. 
Khorovod (The Crane). Russia". 1. 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1 
Scalp Dance. Amer. Indian. 1. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3, $3. 

Esthetic Waltz. Music only. s. or g. SOc. 

Eugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d'Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or £. 3. 

Sailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 



SOc. Each. 

Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Joy- 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 

EXERCISES. 
The Classical Exercises for Technique. 

An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



CONTRA. 

Arkansas Traveler. 2. 
Beaux of Oak Hill. 2. 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



THE CflALIF NORMAL SCHOOL OF DANCING 



A Fe'w 'WTords 
Concerning' It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the c-^hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. ChaUf is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowinsr an amateur 
to make rapid progress is yet authentic, beautiful, utterly c^ptivatinsr 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . • 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. -Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



GALf^NTERIE 

SIMPLE COUPLE SCHOTTISCHE SERIES. FOR CIRCULAR FORMATION 

Arranged by LOUIS H. CHALIF 

PRICE TWO DOLLARS 



OTHER SIMPLE COUPLE DANCES. WITH THE SAME AUTHORSHIP & PRICE. 
ARE LISTED BELOW. MUSIC & DESCRIPTION ARE INCLUDED. UNLESS OTHER- 
WISE STATED. THE NUMERALS INDICATE PROGRESSIVE DEGREES OF 
DIFFICULTY. !fi !fi THE DANCES CAN BE PROCURED ONLY FROM 



THE CHALIF NORMAL 
SCHOOL OF DANCING 

T WEST 42nd STREET. NEW YORK CITV 

Galanterie Schottlsche 2 Abandon Mazurka Series 3 

Sunbeams Po'ka Series 2 Sylvia Waltz 3 

The Princess Schottische 2 Gavotte Waltz 2 

Ta-tao Chinese 3 Mazup Waltz 3 

Flower Waltz Series 3 ROUll-ROUll Exhib Blr 2 

The Countess Gavotte 2 Gavotte Directoire Paviowas 3 

Minuet Waltz 2 

SEE BACK COUER FOR OTHER DANCES BY THE SAME AUTHOR 

COPYRIGHT 1915 BY LOUIS H. CHALIF 



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Galanterie 

A VERY SIMPLE SCHOTTISCHE SERIES 

For one or any number of couples, arr. by 

LOUIS H. CHALIF 

Q If the couples are many they are arranged around the .oom &■ progress in the line of diredion 
of ballroom dancing throughout the dance. Q Partners look at each other, of course, at every 
good opportunity. Q The music is counted I, 2, 3, 4 to a meas: ds 5'8 refer to a 2nd meas 

The boy's K arm is around the girl's waist, their L hands are loined in front &- the 
girl's R hand holds her skirt. Both start this Figure with Rf On the 3 introductory notes 
of the music lift Rf with the knee slightly bent, then straighten the knee before stepping, 
as if stepping over something to get to the place for dancing. 

Both step &■ hop diag. forward on Rf, lifting Lf behind (d I, 2), &• step back &- hop 
on Lf, leaving Rf in fi-ont (d 3, 4) I meas 

Slide step step hop diag. forward to R, starting Rf (<ft I, 2, 3. 4). In more detail this is 
Slide on Rf (d 1), bring Lf up to Rf (d 2), step on Pvf (d 3), &- hop on Fkf lifting 
Lf behind (d 4). On the hop the dancers lean forward 6- to Pv side, as if skating I meas 

Slide step step swing diag. forward to L side starting Lf (d 1-4). This time the free ft 
(Pvf) swings across in front &- the dancers lean back &- to K, looking at each other in 
this position | meas 



Galantene 2 
Repeat Slide step step hop starting Rf as in the 2ncl meas I meas 

Repeat all starting Lf to L side 4 meas 

Repeat to R &- L again 8 meas 

16 meas 

^ II. ^ 
The Cross 

Slide step step swing to K side, keeping the original dancing pos. 6- both starting Pvf 1 meas 

Kepeat starting Lf to L side I meas 

Keep hold of L hands &-, both starting Kf, do Slide step step swing, the girl moving forward 
in line of diredion &■ the boy backward in line of diredion. They are separated &- at arm's 
length 1 meas 

Still keeping L hands joined, both do Slide step step swing, starting Lf &- returning to original 
pos. at partner's side. The girl moves back &- the boy forward I meas 

Repeat all 3 times more, always starting Rf 12 meas 

16 meas 

^ III. m ' 

Slide step step swing in original dancing pos. to R side, both starting Rf I meas 

Keep L hands joined; boy step on Lf &- remain there for the next 2 meas, while girl take 3 
steps to L, turning completely around to L &- crossing in front of boy (L, R &- L: d I, 2, 3), 
pause &- look toward partner (d 4), repeat the 3 steps, girl starting Rf &■ turning to R. 
crossing in front of boy to original place (d 5, 6, 7), &■ pause (d 8). The girl should turn her 
head toward the boy after each turn 2 meas 

Face partner, still keeping L hands joined. The boy's part is: step Rf to side (d 1, 2), &- step 
Lf behind Rf making a bow &■ changing the weight to Lf (d 3, 4). The girl's part is: step Lf to 
side & point R loe behind L heel, making a dip courtesy without changing the weight from Lf. . . I meas 



Galanterie 3 
Kepeat all 3 times more 12 meas 

The last time the boy does not change his weight to Lf when bowing. 

16 meas 

cu. 

Join inside hands. The boy lift his outside arm sidewise a krie bdow shoulder level; the girl hold 
skin with hers. Begin with outside feet, (boy's L, girl's R) with Slide step step swing forward in line of 
diredion turning on the swing so as to be back to back. The joined hands are swung forward..! meas 
Keeping the joined hands extended forward, Step &- hop forward on Rf (boy's part) (d I, 2), 

6- step hop back on Lf (d 3, 4) I meas 

Bring Rf back, bend both knees, incline forward at the waist, gradually transfer the weight 
to Rf, straighten the knees.' resume an ered pos. &- finish with Lf pointed forward. During 
this bend &- rise the joined hands describe a large semi'circle downward &- backward, finishing up 
high. The whole movement is executed slowly &- smoothly, taking 6 counts. On ds 7, 8 touch L 
toe behind R heel, bending both knees to make a little dip courtesy 2 meas 

Repeat all 3 times more 12 meas 

16 meas 

^ y. e 

Join inside hands dr begin outside feet with Slide step step swing forward 1 meas 

Release hands &- changes place with Slide step step swing thus: the boy starts Rf &- moves to R behind 
the girl, who at the same time begins Lf to side £r passes in front of the boy. She holds skirt with both 
hands &- looks back at the boy over her R shoulder I meas 

Kepeat same moving back to original places, boy starting Lf &• girl Rf, looking back at him over her L 

shoulder 1 meas 

Join inside hands again &- face partner. Step Rf to side (boy's part) (d 1, 2), point L toe behind Rf 

&- bend both knees, making a little dip courtesy (d 3, 4) 1 meas 

Kepeat all 3 times more 12 meais 

On the very last meas instead of the little dip courtesy release hands, boy step Rf to side (d 1, 2) &■ 
bring Lf to Rf &■ bow from the waist (d 3, 4), while girl steps Lf to side &■ brings Rf backward, making 

a Courtesy &■ transferring the weight to Rf, both hands holding skirt meanxA^hile. 

16 meas 



D*ANCES BY LOUIS 



r The iollowing lis.t of dances composed o/ 
— arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



little dif&culty, 
3— Rather difficult 
A — Difficult, 
d— Duet dance, 
g — Group dance, 
s — Solo dance. 



NATIONAL. $3 Each. 
Furlana. \enetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g- 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples; $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Folska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime lialk-t, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 

La Fete de Jardinier. Pantomime and 
six dances. $10. 

Christmas Festival Series of Dances. 
Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court, Panto, ballet. $10. 



FOLK. $1 Each. 
Note:— The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka, 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch: 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1; 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. L 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. L 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza), Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak, Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance, Amer. Indian. 1. 



CONTRA, 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1- 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(La Tempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g- 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark! (Schubert). In.s3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvoi-ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, e 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi^rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dancei, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3.' 
The Cherry Blossoms. Japan d w. pant. 2. 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical traininsj. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the b';hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

'I'his is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated a?: separate branches, but almost all 
the beauty of the original, and quii? all of its spirit and scope have 
been retained. The result is an art which while allowi.iq- an amateur 
to make rapid progrcs is yet authentic, beautiful, utterlv c"t?tivatinp" 
to the student, and furthermor= bringing health, kno'.vlerl-e '>i racial 
character, alertness, gract, and a soul-deep development e-t^ietic?llv 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most out=-tanding sr"-^-=. 
especially in three particulars. First, the use of the Arms and the 
rest of the body lias been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserver!. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 



g 3. $3. 
$3. 



$3. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. . $2. 
Eugenie Onyegin. Waltz s c 
The Fairy Queen, s or g 2. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $L 

Furlana. 2. I Minuet Walta. 2, 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2, | Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

A"ol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, ae described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05, 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. .An important work 
to the profession. With musical sup- 
plement, express paid, $10. 'o 



DANCING 



2nd: L, H. CHALIF 



A Few 'Words 
Concerning It 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been. 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment, 

4tn: THE MOVEMENT FOR ARTISTIC DANCING 
which is inore and more ascendant in this country, is the final cause 
for the fame of- the Chalif Schooi. Everywhere there is a demanr" for 
tl-< real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
r--3Ses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are hold during a fortnight of the Christmas holidays and on Satur- 
days -nd aom.e week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 



G A U T T E 

FRENCH SOLO DANCE 

Arr. by 

LOUiS H. CHALtF 



other National dances arranged by Mr. Chaiif are listed below. Tneir price is 
Three dollars < $3.00 each, and they can be procured onSy froin 

The CHALIF NORMAL 
SCHOOL of DANCING 



7 WEST 42ND STREET 



NEW YORK 



Furlana. X'eiu'tian gondolier s. or ; 
Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. 
TarantfUa. Neapolitan s. or g. 2. 
La Mancha Spanish s or « 
Bolero. Spanish s. or g. 4 
Madrileiia. Spanish s. 3. 
La Paloma. Mexican s. or g. 4. 
Cachuca. Spanish s. or g, 3 
La Feria. Snanish s. or g. 3, 
Ole Gaditano. Andalusian s 3. 
La Gitana. Music only. Andalusia 
Pavane. Old French d. or g. 2. 
Allemande Old Frepcli s.; 
Ciici. ,'nne. U\(\ French d. or g I. 
Gavotte. French s. or g. 2. 
Gavotte Directoire. PavlowaV d, I 
Sarabande. Old French i\ <.r :_: 2 
Minuet de la Cour. For 4 couples. 
Queen of Swords. Minuet for 12 o 



8 couples. 2. 



Tyrolienne. Austrian Peasant d. or g. 2. 

Ca la Breaza. Rumanian v. ,<i ^i. 

Sword Dance. Scotch s .\. 

Highland Fling, "^cotcli > ,) 

Polska. Swedish d. or g ?. 

Polonaise. Music only. 50c. g. 1 

Krakowiak. By Glinka; d. or g. 2. 

Maid-of-Honor. Mazurka s. 4. 

Russian Quadrille. For 8 couples, 2. 

The Bride's Dance. Russian pantomime and s. 2. 

Kasatchok. Rus.sian peasant d. or g. 3. 

Plyasovaia. ku.^si:!!! •; with pau'.uniiiin- 

Donskoi Cossack Dance, s. or g 3 

Csar-^a^ ■ ■••<■ " > 

Csardas. s. or g. 3. 

The Magyar. Csardas s. or g 3. 

Hungarian Rhapsody, do Mus. only. 50c. s. 4. 

Saibara. Japanese s. or. g. 1. 

The Cherry Blossoms. Japanese d. with |)anto. 



SEE BACK COUER FOR EXPLANATION OF ABBREVIA- 
TIONS AND LIST OF OTHER DANCES BV THE SAME AUTHOR. 



Copyrtfiht. IS!^. by Louis H. Chaiif 



GAVOTTE 

French Solo 



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EXPLANATION OF TERMS. 

1st Position: The arms make a circle in front of the chest at the leve! of the middle of the chest. 

2nd Position: The arms are raised sidexA/ays a little below shoulder level. 

3rd Position: The Ps arm makes a half-circle over &- in front of the head &- the L is in 2nd pos. 

Reverse for "L arm in 3rd pos, 

3rd Position Amplified is the same. e.xcepi thai the raised arm is less curved. 

■Irh Position: The K arm makes a half-circle over &- in front of the head &- the L is in 2nd pos. 

Reverse as above 

5th Position: Both arms make a circle over and in rront of head. 

Lateral Positions have one arm in 2nd pos.. dr the other in 1st. 

Step Swing means swing the free fi forward &■ at the same time hop on the other. 

Step or Siidt Hop is hop on c>ne ft &- lift the other backward. 

Balance means step on one ft bring the other up tc it 6- rise on the toes of both 



c^ ^ ^ ^ ^ (^) ^ 



GAUOTTE 
FRENCH SOLO DANCE 

ARRANGED BY 

LOUIS H. CHALIF 

The spirit of ihe dance is dignified and at t le same lime light and playful — it is as though the per^ 
former were a lady of the court. The carriage should be very erect, except \A/here it is required that 
ti'unk and head be bent, to loo'c at the toe. The feet should never be lifted more than a few inches 
from the floor and every hop should be \o\^ and easy. 

A simpler and better form of this dance, because more in character, is one in which the skirt is held 
by both hands all the time. A rather full skirt is required for this. The lateral arm positions may be 
used whether holding the skirt or not. 

The Tempo 'time) of the dance is indicated by the metronome mark — 108. In the music each phrase 
begins at the middle of the measure, so the steps must do the same. In this description, therefor, 
"I meas." means 2 half'measures. 

I 

Step Rf to side &- swing Lf in front hopping slightly on Rf (counts 1,2) step Lf forward &- point Kf 
to side in 2nd pos. (cts 3, 4). Arms lateral to L side. Bend to R 6- look at the toe I meas. 

2 glissades to R side fcts I, 2). '"Glissade" is rise on the toes &- slide Rf to side, &- step Lf behind 
Rf). Step Rf to side &- point Lf in 2nd pos. (cts 3, 4). Arms 3rd pos. with the K arm up for glis- 
sades &■ lateral to R side on point I meas. 

Turn completely around to L side with step swing twice ( R &- L). Arms 3rd pos. to 3rd pos. the 
arm raised being opposite to the foot that is forward 1 meas. 

Step Lf to side &- courtesy, finishing with weight on Rf I meas. 

Repeat all beginning L, R, &- L 12 meas. 

16 meas. 
(I. 

Balance Rf forward (cts I, 2). &- balance Lf back (cts 3, 4). Arms 5th dr 2nd pos I meas. 

Step Rf forward ("ct I.) touch L toe behind K heel &- bend both knees a little (ct2) point Lf to 
L side in the 2nd pos. and hold (cts 3, 4). Arms 2nd pos. &- lateral to R side when Lf is pointed. 
The trunk is bent to L I meais. 

Repeat all, starting L, R, &- L 6 meas. 

8 meas. 

III. 

In this figure move in a zig'zag backward. 

Step Rf to side &- swing Lf across in front of Rf, hopping slightly on Rf (cts I, 2). step Lf across in 
front of Kf &- hop leaving Rf behind (cts 3, 4). While doing this the body remains facing forward 
twisting the torso. The arms are 3rd to 5th pos 1 meas. 



GAUOTTE. Continued 

Step Rf to side (ct 1), step Lf behind Rf (ct 2), step Rf to side.again &- leave Lf pointing in 2nd 
pos., (cts 3, 4). Finish with arms lateral to R side &- trunk bent to L I meas. 

Repeat all, starting L, Pv &■ L 6 meas- 

8 meas. 

lU. 

Step Rf to side &- draw Lf slowly up to Rf (cts I, 2). Step Lr behind Rf, step Rf to side, 6- step Lf 
in front of Rf (cts 3, 4). These 3 little steps are called pas de bourree changes. The arms are 3rd 
pos., or the L hand holding skin &■ the R hand in 2nd pos. The trunk is bent to L I meas. 

Pvepeat I meas 

Step swing twice (=R ir L) turning completely around to Pv side Arms 3rd pos.- lo 3rd pos., raising 
the opposite arm from the foot which is forward 1 meas. 

Step Rf to side (ct 1'9. touch L toe behind R heel bending both knees (ct 2\ &■ point Lf to side &- 
hold (cts 3. 4). Finish With arms ilater&l to R side &- trunk bent to L I meas. 

Rcjpeat'ail'to L, R 6- L. 12 meas. 

Rep^t«thc isi~2 meas., of IV., stsuiing Rf 6- moving diag. back to K side 2 meas. 

Step swing twice (R 6- L), moving backward I meas. 

Step to R side'&- courtesy siowly. , [ meas. 

20 meas. 

u. 

3t^ swing twice in place (Pv &■ L) Arms 3rd to 3rd pos I meas. 

Step hop fopA/ard and beck., Arms 5th. to 3rd pos I meas. 

Rond de jambe (circle' with Rf, €r pas de bourree change beginning Lf back (cts I, 2), &- point Lf 
to side in 2r\d pos. (cts 5, 4). Finish with arms lateral to Pv side &- trunk bent to L I inecs. 

Repeat pas do bourree change with Lf to R side, &- finish pointing Rf to sid^ I meas. 

Repeat all twice more 8-meas. 

Repeat the 1st 2 meas. of V: 2 meas. 

Step swing twice (K and L^ , rooving backwaid I meas. 

Stej3 to K side- and courtesy slowly I meas. 

16 meas. 

The lasPedWlesy may be executed in the following way: Step Rf to the s.de &- slide Lf extremely 
far back, kneel on the L knee 5- finish sitting on the Lf, the R leg being ewend-d straight forward.. 
These movements should be so blended together as to be like one continuous downward and back- 
ward rhovement. 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed d* 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc.. of the dance. 



ABBREVIATIONS 

I — Easy. 

2 — Of a little diScultr. 

i — Rather difficult 

4 — Difficult 

d — Duet dance. 

g — Group dance. 

•'-Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s. or g. 2. 
Siciliano. Sicilian s. or g. 2. 
Tarantella. Neapolitan s. or g. 2. 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only. Andalus'.an s. 3. SOc 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet ds la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. Austrian Peasant d. or g. 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. SOc. g. 1. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasatchok. Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
CsSrdSs. d. or g. 3. 
Cs&rdis. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 4. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek For 12 young women. 2. 
Greek Maidens Playing Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Oriental Interpretive s. or g. 2. 
BALLROOM. 
Music and Description, $L 
The Countess. 2. | Sylvia Waltz. 2. 

Minuet Waltz. 2. 1 Gavotte Waltz. 2. 

Mazur Waltz. 2. 

Description only, SOc. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation WalU, the 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northamton Glide. 2. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp., $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 
La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 

Note:— The numerals used with these dances 
denote much easier grades than in the other 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
"The Wheel. Athletic, for men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. I. 
Ring Dance. Swedish. I. 
First of May. Swedish. SOc. 
May Dance. German. 1. 
Westphalian Peasant Dance. 
Cracovienne. Polish. 2. 
Gdralsky Taniei. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Miatelitza). Russian. 1. 
Khorovod (The Crane). Russia". 1 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
StraSik. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



With folk song. 1. 
2. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. SOc 

Eugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. 32. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or gi 3. 

Le Toreador d'Andalousie. s. or g. 4. 

lean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g, 3. 

Sailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 

CONTRA. SOc. Each. 



Arkansas Traveler. 2. 
Beaux of Oak Hill. 2. 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



Petronella. 2. 
Pop Goes the Weasel 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3i. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Teiiace. 3.. 



EXERCISES. 
The Classical Exercises for Technique. 

An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING ^^— ^°'-» 



IT IS located in New York City, at y West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated aS separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art wt»;ch while allowins: an amateur 
to make rapid progress is yet authentic, b.'^utiful, utterly captivatine; 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Anns and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



Concernlnif It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From g 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school populetr, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular stimmer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 






Sauces o f %atwn 



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THE GIPSV CAMP 

OEMi-CHARACTER SOLO OR GROUP DANCE 

By LOUIS H. CHALIF 



Oth«r Cbaractertstic and Dem(-Ctiaracter Dances by Mr. Chalif are listed below. 
Their price is Ttiree Dollars each. They can he procured only from 

THE CHALIF NORMAL 
SCHOOL OF DANCING 



WEST 42N0 STREET. 



NEW YORK 



L« Tor^dor d'Aadaloiiaic. s. or g. 4. 

The Gipsy Camp. Spanish tambourine s. or g. i. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

Jean ct Jeannette. French d. 2. 

The Joy of the Rose. Pierrot pant. s. 2. 

Columbine. French a. or g. }. 

The Village Belle. French l or g. 2. 

SaHor'a Hornpipe, i. or g. 1. 

7%e Pied Piper. Characteristic, 1 adult & g. children. 

The Polish Princeaa. Polish a. or g. t. 

Marysia. Polish s. or g. 3. 



The MazoTian Maid. Polish s. or g. i. 

White Kose Mazurka. Polish s. or g. 3. 

Stach i Zoika. Polish d. with panto. 2. 

Knasian Court Dance, d. 2. 

Wegifrka. Hungarian Military d. 2. 

The Hussar. Hungarian Char. s. or g. 2 

Japanese Group Dance. For 8 or 16. $2. 1. 

America. 6 Characteristic dances, from Indian times 

to the present. Z 

Bow and Arrow Dance. Male s. or g. S. 

L« Creole. Characteristic s. or g. 3. 

"nt Cherry Blossoms. Japanese d. w. pant 2. 



SEE BACK COVER FOR EXPLANATIOff OF ABBREVIATIONS 
AND LIST OF OTHER DANCES B¥ THE SAME AUTHOR 



CO PVR IGHT. l>l4gBy LOUIS H. CHALIF 



The Gipsy Camp 

(A Solo or Group Dance) 



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THE OIPST CAMP 

DEMI-GHARACTER SOLO OR GROUP DANCE 

Somewhat difficult, 

by 
LOUIS H. CHALIF 

(\ The dance should be performed in a quick tempo &■ with fire. Q A tambourine is held 
in the R hand throughout the dance. Q Technical terms are explained at the end of the 
description. 

S 1. w 

Step Kf to K side, swing Lf in front &- hop twice on Rf ("counts 1 and 2). The arms are 
in 3rd pos. with K arm up I meas 

Repeat to L. with L arm in 3rd pos I meas. 

Step Rf &- hop twice on Rf moving diag. forvA/ard R. The arms are 3rd position amplified 
with R arm up 1 meas. 

3 steps in same direction ( L, R 6- L). I he au-ms are in 3rd pos., amplified with R arm up...l meas. 

Step Rf back &- face R &- hold lets I, 2) Open the arms to 2nd pos. on ct I &- strike the 
tambourine in front on ct 2 I meas. 

Step Lf back &- face L. Open the arms to 2nd pos. on ct I &- strike the tambourine on 

ct 2 1 meas- 

Step Rf back (ct I), leap onto Lf turning completely around (ct 2), step on Rf (tour jete; c, 
3). &- hold the pos. (ct 4'. Strike the tambourine overhead twice, on cts 3, 4 2 meas. 

Repeat all beginning Lf , 8 meas 

Repeat R to L 16 meas, 

32 meas. 

^ II. ^ 

Step Rf to side, swing Lf in front &- hop on Rf The arms are 3rd pos ^^ith R arm up I meas 

3 little steps in place beginning L (cts I. and. 2). Swing the arms to a crossed pos, in front ..l-meas 



all 2 meas. 

Moving to R side. 3 little steps twice, making one complete turn to K side. The arms go from 4th 
pos. with R arm up to 4th with L up 2 meas. 

Tour jete to R side and hold- Strike the tambourine twice overhead in the last meas 2 meas. 

Repeat all to L side beginning Lf 8 meas. 

Repeat to R £r L 16 meas. 

32 meas- 

!fi III » 

Step hop forward &- back beginning Rf. The arms are 5th &■ 2nd pos 2 meas. 

Cross Rf over Lf 6- take 3 steps forward beginning Rf- (This is coupe glisse coupe progressing 
forward.) Swing the arms to the lateral pos. to R side 1 meas. 

Repeat same beginning Lf over Rf. Swing the arms to the L 1 meas. 

Step hop forward &■ back. The arms are 5th &- 2nd pos 2 meas. 

Tous jete backward to R side beginning Rf. Strike the tambourine overhead twice in the las^ 
meas • 2 meas. 

Repeat all beginning Lf 8 meas. 



16 meas, 

S lU » 

Before beginning extend Rf forward. 

Bring Rf down in front of (3rd pos.) &- take several tiny liiile steps backwards (pas de bourree. 

ct !), £r extend Rf forward again (coupe ; ct 2). The arms are 2nd pos. on the 1st ct &■ strike the 

tambourine in front of the 2nd 1 meas. 

Kepeat twice more 2 meas. 

Turn to R side 6- step on Rf ct 1). leap onto Lf turning completely around to R ^ct 2), &- finish 



with Rf extended in front ready to begin a 2nd pas de bourree. Strike the tambourine overhead 

on the 2nd ct • meas. 

Repeat all 3 times more, always turning to R side.. 12 meas , 

16 meas. 

\R v. \R 

Step Rf so side, &- swing Lf in front (cts I, 2,), The arms are 3rd pos. with R arm up 1 meas. 

2 running steps (cts I, 2) progressing forward. Extend the legs backward from the hips 6- bend 
forward at the waist. Strike the tambourine twice in front 1 meas. 

Repeat all beginning Lf ■ 2 meas. 

Continue alternating R &- L for - - 12 meas. 

16 meas. 
This Figure may be danced in a circle, or if in a group, side by side. 

Step swing on Rf The arms are 3rd pos. amp. with K arm up ^■■■. 1 meas. 

Slide hop diag. forward L on Lf The arms are 3rd pos. amp. with L arm up I meas. 

Repeat all 2 meas. 

2 pas de Basque in place (R &• L). The arms are 4th pos. with R and with L arm up 2 meas. 

Pivot turn to R side, the arms in 3rd pos. amp. with Pv arm up < 2 meas 

Repeat all baginning Lf 8 meas. 

Continue the pivot turn to L for I meas. more.. I meas. 

Stand on Lf with Rf pointed behind &- hold <cts I, 2). striking tambourine in front on ct 1....1 meas 



Strike the tatnbourine again in front (I meas.). &- again finishing with R hand over L shoulder 
&■ L hand out at the side below shoulder lever (I meas.) 2 meas 



20 Measures 



S S » Hi S 

EXPLANATION OF TERMS. 



1st Position : The arms make a circle in front of the chest at the level of me middle of the chest. 

2nd Position : The arms aire raised sideways a little below shoulder level. 

3rd Position : The K arm makes a half-circle over &- in front of the head &- the L is m 2nd pos. 

Reverse for " L arm in 3rd pos-" 

3rd Position Amplified is the same, except that the raised arm is less curved. 

■4th Position : The K arm makes a half circle over in front of the head and the L is in 2nd pos 

Reverse as above. 

5th Position : Both arms make a circle over and in front of head. 

Lateral Positions have one arm in 2nd pos., and the other in 1st. 

Step Swing means swing the free ft forward &- at the same time hop on the other. 

Step or Slide Hop is hop on one ft &- lift the other backward. 

Slide Hop or Slide Step Step Hop demands that the free ft be lifted backward. 

Step Swing or Slide Step Step Swing demands that the free ft be lifted for'd. 




ii 



DANCES BY LOUIS H. CHALIF. ^:J^^;S^::^^'^Z^:^ Z 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2 — Of a little difficultj. 

3— Rather difficult 

4 — Difficult. 

d — Duet dance. 

g — Group dance. 

8— Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swrords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 13. 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 

La Fete de Jardinier. Pantomime and 
six dances. $10. 

Christmas Festival Series of Dances. 
Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



Note 



FOLK. $1 Each. 
-The numerals used with 
Folk and Contra dances denote m 
easier grades than in other catego; 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2 
The Wheel. Athletic; men or boys. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 
Long Dance. Swedish 
Ring Dance. Swedish. 
First of May. Sw. 50c. 
Mountain Trio Dance. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. .Amer. Indian. 1. 



1. 
/. folk song. 
Norwegian. 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1, 
Hull's Victory. 2 

Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(LaTempete). 1. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very el'fective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3, 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $33 
The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1 . Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
are published by the school, 



$2. 



ard fori 
at $.50 : 
MUSIC 
dances, 



nd up. 



for the newest ballroom 

the pieces most approved by 
nd the public, is carried in stock at 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CflALIF NORMAL SCHOOL OF DANCING ^ ^"^ ^"'*' 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training;. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the ichool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

1 nis is tne classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and qun.? all of its spirit and scope have 
been retained. The result is an art wti'ch while allowing; an amateur 
to make rapid progress is yet authentic, b'^autiful, utterly c^ptivatins; 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the ChpHf School only, but by it "'•'■h the most outstanding suc"»"<!. 
especially in three particulars. First, the use of the .'r" and the 
rest of the body has been kept equallv important wth the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserver!. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 



Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a deman^" for 
tl-« real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
Grasses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will he sent with nleasure. on annlication. 



GOBMI TANIEt 



A POLISH FOLK DANCE 



ARRANGED BY 



LOUIS H. CHALIF 



Price $1.00 For sale only by 




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Copyright 191^ by Louis H. Chalif 



Goralski Taniec 



arr. by Louis H. Chalif . 




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Goralski Taniec. 

An Easy Polish Folk Dance, 
arr. by 

LOUIS H. CHALIF. 

The name is translated by Dance of the Mountaineers 
and is pronounced Goo-rahl-skee Tahn-yets. 



Formation-- in a circle, couple by couple. The boys are inside and girls out- 
side. 

Boy's R arm is around girl's waist & girls L arm is around his shoulder. Their 
outside hands are raised. 



I. 

14 slides forward around the circle. Both begin with outside ft. .... 7 meas. 

3 stamps in place. While making these stamps both turn half way around to 
face in opposite direction. They turn inward toward partner. The boy then 
puts his L arm around girl s waist 1 " 

Repeat all back to original place & turn as before. 8 " 

T? " 
II. 

Partners are still side by side as at the beginning. 

Pass partners, the boy going behind, & separate from partner. The boy moves 
outward- to R side & the girl inward to L side with the following step: 

6 slides to side , .... 3 " 

3 stamps in place 1 " 

Repeat same, returning to place, 4 " 

T " 



III. 



Turn partner to R side with pas boiteux (hop step & step turning )4 times. 

While turning one s partner each puts the R arm around partners waist 
& holds L hand high. The girl puts her R hand around the boy's shoulder. 
Before beginning, lift L ft. Hop, on R ft, immediately step L ft for - 

ward (count 1) & step R ft forward (ct.2.) 4 meas. 

Repeat same, turning to L side. 4 " 

Move forward to meet a new partner, each person movinginthe direction he fac- 
es, the boys going in one direction & the girls in the other. 

Turn new partner to R & L as previously described 8 " 

Move forward to meet anew partner & repeat same 8 " 

24 " 
If the turn with pas boiteux is too difficult, the following step may be 
substituted: 

Lock R arms & dance around each other with slide hop 3 times rais - 
ingfree ft behind, & 3 stamps in place(4 meas.) Join L arms & repeat 
same, turning to L (4 meas.) 
With the last partner repeat the dance from the very beginning. 



DANCES BY LOUIS H. CHALIF. :^:„';JrXVHi,»A'pl"fr.dTnf," 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2— Of a litUe difficulty. 

3 — Rather difficult. 

4— Difficult. 

d — Duet dance. 

g — Group dance. 

E— Solo dance. 



3. SOc. 



$5. 2. 
r 8 couples. 2. 



NATIONAL. $3 Each. 
Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. 
Tarantella. Neapolitan s. or g. 2. 
Bolero. Spanish s. or g. 4. 
Madrilefia. Spanish s, 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g, 3. 
Ole Gaditano. .'\ndalusiaii s. 3. 
La Gitana. Music only. Andalusian 
La Paloma. Mexican s. or g. 4. 
Pavane. Uld French d, or g. 2. 
Chaconne. Old French d. or g, 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couple 
Queen of Swords. JMinuel for 12 
Tyrolienne. Austrian Peasant d. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. SOc. g. 1. 
Krakowiak. By Glinka: d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For S couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasatchok. Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g. 3. 
Csardas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Slus. only. SOc. s. 4. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek. For 12 young women. 2. 
Greek Maidens Playing Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Oriental Interpretive s. or g. 2. 
BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 

Description only, SOc. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northamton Glide. 2. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp., $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 
La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $S. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 

Note: — The numerals used with these dances 
denote much easier grades than in the other 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
WindmiU. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic, for men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

1. 
1. 

SOc. With folk song. 1. 
1. 



Long Dance. 
Ring Dance. 
First of May. 
May Dance. 



Swedish. 

Swedish. 

Swedish. 
German. 
Westphalian Peasant Dance. 
Cracovienne. Polish. 2. 
Goralsky Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm ( Miatelitza). Russian. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



. SOc. 

$3. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or j 

Eugenie Onyegin. Waltz s. or g. 3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. French d, 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s or g. 1. 

The Polish Princess. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

■VVhite Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. I. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 



CONTRA. 

Arkansas Traveler. 2. 
Beaux of Oak Hill. 2. 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



SOc. Each. 

Petronella. T 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's lev. 2. 
Speed the P ow. 3. 
The Tempest (la Tern 

peteV 1. 
Three Hand Ring. 3 
Windsor Terrace. 3. 



EXERCISES. 
The Classical Exercises for Technique. 

.An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING ^ ^^^^ ^°'^'*' 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the ichool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



Cos£cea>aii£i^ It 
2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal! 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 







cA Simple and Very Effective Greek Group Dance 



BY 



LOUIS H. CHALIF 



Price $2.00 For sale only by 







SEE BACK COVER FOR OTHER PUBLICATIONS OF THE SCHOOL 

Copyright 191^" by Louis H. Chalif 



Greek Maidens Playing Ball. 



Allegro tranquillo e con malinconia. 



arr. by Louis H. Chalif. 




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Greek Maidens Playing Ball. 

A Group Dance for any number of Couples. 
BY 

LOUIS H.CHALIF. 

The balls for each girl should be of rubber and about 7 inches in diameter. 

I. 

Enter from wings of stage in single file & form circle with the fol- 
lowing step, danced sideways with backs to the center. 
Step R. ft to side, draw L. ft up to R. & step on L. ft .(counts 1 &2) 1 meas. 

Repeat same 1 " 

Step hop 4 times moving to R. side around circle, beginning R.ft. 2 " 

Repeat all 3 times more 12 <' 

16 » 
During this figure the ball is held overhead in both hands 
& the body sways from side to side. 

II. 

Face partners. All slide step step to R. side & point L. ft to side & 

slightly behind 1 meas, 

Throw the ball up & catch it , . 1 n 

Repeat same to L.side 2 " 

Repeat to R.& L 4 " 



III. 

All face outward. Throw the ball up & catch it 1 meas. 

Bounce it on the floor & catch it 1 » 

Hold it in both hands overhead & pivot to R. side. ....... 2 d 

Repeat all 3 times more .12 " 

16 " 



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All face outward. 
Each dancer places her R.hand on the shoulder of the girl next tuher & 

holds the ball out in front in her L.hand. 

All move to R. side with step draw twice 2 meas. 

And 4 glissades. (Glissade is rise on the toes & slide R.ft. to side & 

bring L. ft. behind R.) 2 " 

Repeat 3 times more 12 " 

Ti" " 

V. 

Face partner. Slide step step, all moving to R. side, & throw ball up & 

catch it 2 " 

Each throw ball to partner & catch partners ball 1 " 

Exchange balls again 1 " 

Repeat all to L . 4 " 

Repeat to R.& L • • 8 " 

16 " 

VI. 

Face outward. Slide step step diag. forward to R. side. Hold the ball in R. 

hand & raise arms to 3™ pos 1 " 

Stand still & toss the ball to L. hand 1 " 

Repeat to 1.. side ■ . 2 " 

Repeat to R. & L. . . . 4 ' 



VIL 

Face outward. Step to R.side, cross the feet & turn completely arOund 

(tour de Basque.) Hold the ball overhead in both hands. . . . 1 

Throw the ball up and catch it .1 

Repeat all 3 times more to R. side 6 

Repeat same 4 times to L. side 8 

16 



G9 



10 



VIII. 

Face outward. Beginning R.ft. slide step step forward, & throw ball up 

& catch it. . . 2 meas, 

Step hop twice moving backwards 1 " 

Bounce the ball on the floor & catch it •. . . 1 " 

Repeat all 3 times more. 12 " 

IX. 

Face partner & join L. hands. Beginning R.ft. dance around each other 

with step bend twice 2 " 

Throw the ball up twice & catch it, with both hands if necessary. . . . 2 "' 

Repeat 3 times more 12 " 

" . Te" " 

X. 

Hold ball in R.hand high up & partners run around each other in a little 

circle 2 " 

Throw ball up twice. ' 2 " 

Repeat 3 times more. 12 " 

■■ 16 " 

XI. 

All face R.In this figure dance around the circle for a few measures, then 
the leader dance off the stage & the others follow in single file. 

Beginning R.ft. slide step step 1 " 

Throw ball up,hop on R.ft. Catch the ball, at the. same time hop again on R, 

ft 1 " 

Repeat same beginning L.ft 2 " 

Continue alternating R.& L.for 12 measures 12 " 

Raise the ball overhead in both hands & run off stage with little steps . 6 " 

22 '■' 



G9 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed or 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1— Easy. 

2 — Of a little difficulty. 

3— Rather difficult. 

4 — Difficult. 

d — Duet dance. 

g — Group dance. 

E — Solo dance. 



NATIONAL. $3 Each. 
Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. 
Tarantella. Neapolitan s. or g. 2. 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only. Andalusian s. 3. SOc. 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples 
Queen of Swords. Minuet for 12 
Tyrolienne. Austrian Peasant d. ( 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. SOc. g. 1 
Krakowiak. By Glinka: d. or g. 2 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For S couples 
The Bride's Dance. Russian pant 
Kasatchok. Russian peasant d. oi 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g. 3. 
Csardas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mas. only 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek. For 12 young women. 
Greek Maidens Playing Ball. Very effective. 2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Oriental Interpretive s. or g 

BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
Description only, SOc. 



8 couples. 2. 



me and s. 2. 
3. 



SOc. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original. 3. 
Manhattan GUde. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northamton Glide. 2. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp., $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 
La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $S. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 

Note: — The numerals used with these dances 
denote much easier grades than in the other 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
F'arandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic, for men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 
Long Dance. Swedish 
Ring Dance. Swedish. 
First of May. Swedish. 
May Dance. German. 1. 
Westphalian Peasant Dance. 
Cracovienne. Polish. 2. 
Goralsky Taniec. Polish. 1. 

Russian Wave Dance. 1. 

Pletyonka. Russian. 1. 

Snow Storm (Miatelitza) 
Khorovod (The Crane). 

Lujock. Russian. 1. 

Kolomeika. Russian 2. 

Strasak. Bohemian. 3. 

Baborak. Bohemian. 2. 

Ritka. Hungarian. 3. 

Csehbogar. Hungarian. 1. 

Bulgarian Folk Dance. 1. 

Snake Dance. Amer. Indian 

Scalp Dance. Amer. Indian. 



1. 

1. 

SOc. With folk song. 1. 



2. 



, Russian. 1. 

Russian. 1. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. SOc. 

Eugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

FireHies. s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or'g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

lean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. 

Bow and Arrow Dance. Male s. or g 

L'Automne (Bacchanal), d. 3. 

CONTRA. SOc. Each. 



$2. 1. 
. 3. 



Arkansas Traveler. 2. 
Beaux of Oak Hill. 2. 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Jo". 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 



EXERCISES. 
The Classical Exercises for Technique. 
.\n entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING " ^^ ^°"" 



Concesx'nin^ It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



2nd: L. H. CHALIF 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has preve"nted the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has * 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival b^lets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the vnnter. Catalogs 1 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



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DANCES BY LOUIS H. CHALIF. :^;J:Sr'Zy^,:X;Z:ZZfiZ 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1— Easy. 

2 — Of a little difficulty. 

3 — Rather di£ficulL 

1 — Difficult 

d — Duet danct. 

g — Group dance. 

K— Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s. or g. 2. 
Siciliano. Sicilian s. or g. 2. 
Tarantella. Neapolitan s. or g. 2. 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only. Andalusian s. 3. 50c. 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. -Austrian Peasant d. or g. 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. 50c. g. 1. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasatchok. Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g. 3. 
Csardas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. 50c. s. 4. 
Saibara. Japanese s. or, g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek For 12 young women. 2. 
Greek Maidens Playing Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interiirclive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Oriental Interpretive s. or g. 2. 
BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotte Waltz. 2. 

I,:a:;ur Waltz. 2. 
Dexcription only, 50c. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northaraton Glide. 2. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp. $3. 

Tvuinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. 



Each. 



Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 
La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 



FOLK. $1 Each. 



-The 



erals used with these dance 
er grades than in the othe 



Note 
denote m 
categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic, for men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Swedish. 1. 

Swedish. 1. 

Swedish. 50c. With folk song. 1 

German. 1. 
Westphalian Peasant Dance. 
Cracovienne. Polish. 2. 
Goralsky Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Miatelitza) 
Khorovod (The Crane) 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian 
Scalp Dance. Amer. Indian, 



Long Dance. 
Ring Dance. 
First of May. 
May Dance. 



2. 



Russian, 
Russia'3. 1 



1. 



2. ?2. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. SOc 

Eugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s or g. 2. $3. 

Fireflies, s, or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g, 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies, 12 or 24 girls. 1. $3. 
Papillons d'Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. 

White Rose Mazurka. Polish s 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1.' 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 



or g. 3. 



or g. 3. 
or g. 3. 



CONTRA. 

Arkansas Traveler. 2. 
Beaux of Oak Hill. 2. 
Flowers of Edinburgh, 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



50c. Each. 

Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 

EXERCISES. 

The Classical Exercises for Technique. 

An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING 



A. Fe'w 'Words 
Concernine It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training;. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the t.'^hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowing; an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivatinc 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



2nd: L. H. CHALIF 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



CONTRA DANCES • 

ffrranff(.'d by 

"LOUIS H. CHALIF 

J/re Jiyl/c^wina czre ori'fft'na/ arrangenmnh of i'/^c ^cj"/ Ca/i f/-c2 ^ctnct;s^ 
Ci}nst'sh^7g o/-'affroffria^£ iTHij-i.c-' and a ccmp/a/a clescripfio/^- (jy-'Me. 
cianC'S . ^ley cira capyriy/ri'e'd and can &e ^racti/'eid o/2/jr/-/v/n 

THE CHALIF NORMAL SCHOOL 
OF DANCINO 

7 Vl/dal 4-2 lid it . 



3yceM^£dch 



ARKANSAS TRAVELER LA TEMPETE 

' BEAUX OF OAK HILL MONEY MUSK 

CIRCASSIAN CIRCLE OFF SHE GOES 

FLOWER OF EDINBURO PETRONELLA 

THE GRACES POP 00E5 THE WEASEL 

HARVEST HOME PORTLAND FANCr 

HEWETrj FANCY SOLDIERS JOY 

HULL'S VICTORY SPEED THE PLOW 
WINOSORTERRACE 

By tbc socnie. Glulbor 
£)ii-e/7sitft sancs ^ O?cifionaf -i^i/Tcc'S f Uricc •^ J - t-'ocA J ^ cro/k- KJancej 

TO/oczirai/e only ^-om f'f?e Sc/700/. 



HUMORESKE 

QREEK SOLO DANCE 

By LOUIS H. CHALIF 

other Greek and Interpretive dances t>y the same author are listed below, 
and described on the back cover. They can be procured only from 

The CHALIF NORMAL 
S C H L f D f) N C I N G 

7 WEST 42ND STREET.. NEW YORK 



PRICE $3. EACH 




Wind and wave. 


Autumn. 


Cymbal Dance. 


Humoreske. 


Forest Spirits. 


The Moon Dance. 


Greek Maidens Piaj^ing Ball. 


Moment Musical. 


Spirit of Spring. 


Barcarolle. 



Copyright. I 9 \ ^ , by Louis H. Chalif 



fil« RhSlUf iMSSai SftV.&A» nf n«nn< 



HUMORESKE 



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Poco Lento e grazioso m. m. J = 73. 



Piano 




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HUMORESKE 

GREEK SOLO DANCE. A LITTLE DIFFICULT. 

by 



The arm movements of this dance have been described by reference to the five Standard Positions. 
These are, as regards the arms, as follows: 

1st pos. The arms are extended forward, forming an ellipse. 

2nd " " " ■" at the sides a little below shoulder level. 

3rd " One arm is over C& in front of the head, the other in 2nd pos. 

4th ■' " " " " " " , " " " " " " " 1st " 

5th " Both arms make a circle over iSl, in front of the head. 

The words in bold faced type afford a brief description of each step. 



Enter from the L back corner of the stage. 

Dance in a CSrClE around the stage starting across back of stage, then down the middle, C&. finishing m 
the center. 

The steps for this are: Starling Rf, sHde StSP Step & flOP lifting Lf behind. Arms are from Ist to 
3rd pos. The body bends to the L side & back. This rule for the body applies throughout the dance. 
The head looks back over the L shoulder, a special pos. for this figure i mcas. 

Repeat this step is a circle 7 tifXHeS ITIOre beginning with Lf & Rf alternately 7 riicag, 

"Tmeas 

il. 

Diag. forward to K, beginning Pf Slide Step StBP & hOP, leaving Lf raised behind, (counts 1, 2. 3. 4 . 
.^rms from 1st to 3rd pos. .1 roeas 



Repeat diag. forward to L 1 meas. 

Moving backward, SteP hOP on R j^ L. tUmitlS completely around to R. Raise the free ft behind 
each time. Arms from 4th on R side to 4th on L. W^hen stepping on Rf bend body to L & back; when 
on the Lf, vice versa. Look at audience over L shoulder as long as possible CS, then turn to look over R 
shoulder 1 meas. 

3 steps forward, beginning R. Finish on Rf, with body bent a little to L. Arms from 1st to 2nd. 

1 meas. 

Repeat all to L. R & L. 12 meas. 



16 meas. 



III. 

Slide hop dlag. forward on R (cts 1, 2). Arms are 3rd pos. with R arm up. SteP hOP baCkward 

on L, lifting Rf in front with knee somewhat bent (cts 3, 4). Arms are 4th pos. with L arm up 1 meas. 

Moving backward SteP hOP tWICe. tumitlg completely around to R as described in I Imeas. 

Repeat this turn 1 meas. 

3 Steps forward, beginning Rf Arms from 1st to 2nd 1 meas. 



w. 

Slide step step hop, to R side beginning Rf. Finish in the following arabesque on Rf: Lf is raised 
behind, body is twisted to R & bent back, L arm swings across in front of chest and is raised higher 
than shoulder level, R arm is shoulder high CSb pushed back so as not to be visible from the audience, 
while head looks toward audience over L shoulder 1 meas. 

Repeat to L side l meas. 

Moving to R side, St€P hOP IVUiCe (R <^ L), tUming completely around to R. Arms 2nd & 5th. 

1 meas. 

Slide step step to R side, beginning Rf Finish on Rf with arms in Sth pos 1 meas. 

Repeat all to L side, beginning Lf 4 meas. 



8 meas. 



u. 

Step Rf to R side (cts 1, 2), draW Lf <^ step Lf across in front of Rf, moving to R side (cts 3, 4). 
Arms from 1st to 3rd. At the finish the trunk is twisted so that the shoulders face forward 1 meas. 

Repeats times more, moving to R side 3 meas. 

The last time change the weight to Rf on 4th ct 

Repeat all, beginning Lf C& moving to L side .A meas. 

8 meas. 
The last time finish with weight on Rf. 



UI. 

This figure is danced in a backward semicircle to R & L. 

Lift L ft behind, hOP on R & immediately after begin with Lf slide StBP StBP hOP. making an OUt- 
WSrd turn to L side ca, dancing in a backjvard semicircle to R side. Arms go through 1st to 3rd pos. 
with R arm up f. 1 meas. 

Step Rf f OrWSrd. continuing the semicircle, CSi, SWidS Lf forward with knee somewhat bent, arms 
2nd pos. (cts 1, 2). Step Lf forward, leaving Rf raised behind (cts 3, 4). Arms 5th pos. ...1 meas. 

Repeat to L side, beginning Rf 2 meas. 

Repeat all ^ 4 meas. 



8 meas. 

Ull. 

This figure is danced in a large Circle around to R, starting to R side CSt, then going back. Before 
beginning, change weight to Lf. 

Slide step step hop. beginning Rf to R side. Arms are 1st to 3rd pos. Look backward over L 
shoulder 1 meas. 

Repeat 7 times more, alternating R CS. L .7 meas. 

8 meas. 
This is the same step as in figure I. 

Ulll. 

Moving diag. backward to R side Slide SteP SteP hOP. then in the same direction slide StBP SteP 

hop again tumillg completely around to R, so as to finish facing audience. Arms are from 1st to 3rd 
pos. in 1st meas. CB, 2nd to 5th in 2nd meas 2 meas 

Repeat same steps starting Rf again CS, moving diag. forward to R 2 meas. 

Repeat same steps starting Rf but turning completely around to L (rS, moving diag. forward to L. 

2 meas. 

Move diag. backward to R with tiny little steps on the coes (PaS de BOUrree terre-a-terre). 
Keep the feet crossed, L being in front, CSk move sideways. These steps may be continued until off- 
stage or the dance may be finished on the stage in the same attitude 2 meas 

,8 meas. 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed or 
arranged, copyrighted, pubKshed and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy, 

2— Of a little difficulty. 

3 — Rather difficult 

< — Difficult 

d — Duet dance. 

g — Group dance. 

g^Solo dance. 



NATIONAL. $3 Each. 
Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g-. 2. . 

Tarantella. Neapolitan s. or g. 2. 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. .\ndalusian s. 3. 
La Gitan'a. Music only. .A.ndalusian s. 3. SOc. 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 
Tyrolienne. .^ustr!an Peasant d. or g. 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. SOc. g. 1. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance, l^ussian pantomime and s. 
Kasatchok. Rn.ssian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
Csardas. d. or g. o. 
Csardas. ? or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek For 12 young women. 
Greek Maidens Playing Ball. Very effective. 2. ! 
Spirit of Spring. (Ireek Interpretive s. 3. 
Autumn, (.reek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Oric-tal Interpretive s. or g. 

BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. ! Gavotte Waltz. 2. 

Mazur Waltz. 2. 
Description only, SOc. 



Aeroplane Glide. 
Dream Waltz. 3 
Hesitation Waltz 

original. 3. 
Manhattan Glide. ; 
Maxixe. Brazilian. 
Mignon Waltz. 2. 
Narragansett Glide. 
Northamton Glide. 



the 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Pari; 
form of the Arg 
tine Tango. 12 pp , 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples. 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 
La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $5, 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 

Note; — The r.nmerals used with these dances 
denote much easier grades than in the other 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. ^ 

Farandole. Irovengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3, 
Rustic Dance. Old English. 1, 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel, .\tliletic. for men or bovs. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 



Long Dance. 


Swedish. 1. 




Ring Dance. 


Swedish. 1. 




First of May. 


Swedish. SOc. 


With folk 


Maj- Drnce. 


German. 1. 




Westchaiian 


Peasant Dance. 


2. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. SOc. 

Eugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3.. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s, or g. 2. 

The Andalusian Gipsy. Spanish s. or g, 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

lean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s. or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne ( Bacchanal), d. 3. 



Cracov;enre. Polish. 2. 
GorEisky Tsniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka, Russian. 1. 
Sno^v Storm { Miatelitza). Russian. 
Khorovod (The Crane). Russia". 1 
Lujock. Russian. 1. 
Kolcmeika. l^ussian 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hnnyarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgc-ripn Folk Dance. 1. 
Snake Dance, .^ir.er, Indian. 1 
Scalp D^pce. .'\mer Indian. 1. 



CONTRA. 

.-Arkansas Traveler. 2. 
Seaux of Oak Hill. 2. 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



SOc. Each. 

Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 

EXERCISES. 
The Classical Exercises for Technique. 

.\n entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
i)rief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING ^ '^''^ ^°^'*' 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work wit'i 
these classes has met with tremendous success. "Chalif dancing" and 
the bchool which radiates it have come into a North '^ T^erican repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowinff an amateur 
to make rapid progress is yet authentic, beautiful, utterly cptivatins; 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding sur-=-s. 
especially in three particulars. First, the use of the y'r'i;- and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
p.lthouffh it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd; LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School, Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



THE HUSSAR 

HUNGARmN CHARf^CTERISTIC DANCE 

Arr. By 

LOU(S H. CHALIF 

Other Characteristic dances arranged by Mr. Chalif are listed below. Their 
price Is Three dollars each postpaid, and they can be procured only from 

THE CHALIF NORMAL 

SCHOOL of DANCING 

7 WEST 42N0 STREET. NEW VORK 



The Gipsy Camp. Spanish tambourine s. or g. 3. 
Le Toreador d'Andalousie. s. or g. 4. 
The Andalusian Gipsy. Spanish s. or g. 3. 
The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 
Jean et Jeannette. French d. 2, 
The J07 of the Rose. Pierrot pant. s. 2. 
Columbine. French s. or g. 3. 
Sailor's Hornpipe, s. or g. 1. 
The Polish Princess. Polish s. or g. 3. 
The Village Belle. French s. or g. 2. 
Marysia. Polish s. or g. 3. 
The Pied Piper. Characteristic. 1 adult & g. children. 



The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Stach i Zoska. Polish d. with panto. 2. 

Russian Court Dance, d. 2. 

Wegi?rka. Hungarian Military d. 2. 

The Hussar. Hungarian Char. s. or g. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 

America. 6 Characteristic dances, from Indian times 

to the present. 2. 

Bow and Arrow Dance. Male s. or g. 3. 

La Creole. Characteristic s. or g. 3. 

The Cherry Blossoms. Japanese d. w. pant. 2. 



SEE BACK COUER FOR EXPLANATION OF ABBREVIA- 
TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR 



The Hassar. 



Piano. 



Introduction. 
Tempo di Marcia. 



Arr. by Louis H. Chalif. 



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The Hussar 

HUNGARIAN CHARACTERISTIC DANCE 

Very Simple, For Solo or Group, by 

LOUIS H. CHALIF 



The dance should be military in spirit, but not have the grimness of war's discipline; lather should it 
have the bold and masterful, and at the same time gay air of the soldier on a holiday; his manner is free, 
but he never loses his habitual erect carriage. QThe costume is the traditional Hungarian military 
dress"high boots, &- a small round fur hat with cockade. Q There are 2 counts in a measure of the 
music-"d: 3" or "d4" refers to the 2nd of 2 meas. considered at the same time. Q Technical 
terms are explained at the end of the description. 

INTRODUCTION 
Stand with heels together &- with the back of the L hand on hip. Kaise the R hand as if blowing a 
horn, raising the head so as to blow diag. upward to the R. Hold this position for 8 countS"4meas. 

Mark time in place with 7 steps <J<fXs), lifting the knees forward with each step. Start with Lf &- 
finish with heels together, resting on d 8. The L hand remains on hip £r the R arm hangs naturally 
down at the side 4 meas. 

Kepeat the blowing of the horn 4 meas. 

Mark time in place, starting Lf with 5 steps (5cts), then step Rf to side {cl6,), bring Lf up to Kf 
striking the heels together, (d7). dr rest (dS), The L hand remains on the hip &- the K hand hangs 
down at the side for 5 d, on d: 6 raise it to 2nd pos., &- on dZ salute v/ith it. touching the temple 
with the finger-tips, the palm being turned forward. Hold the salute for d 8 4 meas. 

1 6 meas. 

m I n 

2 polka steps diag. forward R starting Rf The back of the L hand is on the hip all the time £r the 
R hand swings from 1st to 2nd pos. &- the trunk bends to R on the 1st polka step &■ back again to 1st 
pos., the trunk bending to L, on the 2nd polka step 2 meas. 

3 steps in same direction (diag. forward Ri 'd l,2,3>. &- bring Lf up to Rf, striking heels (d4). 

The R arm swings to 2nd pos. during d 1.2.3. &- salutes on d 4 2 meas. 

Repeat all, starting L, R £r L ft 12 meas. 

■ 16 meas.' 



^ II ii 

Moving backward step swing on Kf (d 1,2), &- 3 quick leaps lifting the knees forward &- turning 
them out (L, R &• L; d I, and, 2). A simpler figure is to take 3 steps instead of 3 leaps back- 
ward, with each step leaving the free ft extended forward with toes on the floor. Cin technical Ian- 
guage, 3 changes backward). For the step swing the L hand is on the hip &- the R overhead, &- for 
the 3 leapsCor steps) backward the arms are folded in front of the chest, but lifted shoulder high. 

2 meas. 

Repeat, starting Rf again 2 meas. 

2 polka steps turning once around to R &- moving backwards: start with Rf. The L hand is on hip &■ 
the R arm in 2nd pos. for the 1st polka step &- 1st pos. for the 2nd 2 meas. 

3 steps forward (R, L £r R; d 1, 2,3), &- strike heels together (d4). The L hand remains on 
hip &■ R arm swings to 2nd pos. during dl, 2,3 &- salutes on d4 2 meas. 

Repeat all, starting Rf again ; 8 meas 

16 meas. 

H III n 

2 tortille polka steps moving backwards, starting Rf. In such a step there is a demi'rond de jambe 
( half'circle ) backwards with the ft which is to begin the polka &■ the knee of this leg is lifted high 6- 
sharply bent. The arms are folded in front of the chest 2 m eas. 

Move to K &- turning completely around NA/ith 3 slow steps, starting Rf 'd I, 2, 3'. drbring Lf up 
to Rft striking heels together (d 4). The arms are in 2nd pos. (d \), crossed in 1st pos. (d2), 
2nd pos. (d 3), £r L hand on hip &- R hand'at salute (d 4) ■ 2 meas. 

Repeat all, starting Lf. At the end salute with L hand 4 meas. 

8 meas. 

H lU ii 

Mark time with 4 steps in place, starting Rf d 0, 2, 3, 4). The R hand i? at salute &- L hand on hip 

2 meas 

1 polka step (<fX I, and 2), diag. forward K starting Rf, &- 2 running steps in same direction (L &- R 
d 3, 4). The L hand remains on hip &- R swings to 2nd pos. for the polka step &- to 1st &- 2nd pos, 
on d 3, 4 2 meas 

Repeat all to L &- R 8 meas. 

Move in a semicircle toward back of stage starting to the L, with 2 polka steps ( L 6- K; 2 meas.), 3 
slcM' running steps fL, R &- L; d 1, 2, 3), &- bring Rf up to Lf striking heels, facing forward. The 



Fk hand is on hip all the time &- the L swings tc 2nd pos. on the 1st polka step, to 1st. on the 2nd 
polka step, to 2nd on the 3 running steps, &- salutes when the heels come together 4 mcas. 



Dance backwards throughout this figure in a very sharp zigzag to R &- L, the progression of the zigzag 
being forward. ' Keep the arms folded in front of the chest. The steps are many little slides on the 
toes keeping the feet close together. Begin diag. forward to R ^ move backwards in this direction 
for 4 slow dl 2 meas. 

Turn to R &- move backwards diag. forward to L...; 2 meas. 

Turn to L &- move backwards diag. forward to R '. 2 meas. 

Turn to R &- move backwards diag. forward to L 2 meas. 

It will be noted that by turning in the directions stated the dancer avoids turning the back on the audience. 



1 polka step diag. forward to R id 1, and 2 ). &- slide hop on Lf in same direction 'across in front 
of Rt) (d:3. 4'. The L hand is on hip &- the R swings to 2nd pos. on the polka step &- on the 
slide hop is extended far back in 2nd pos. The chest is much elevated 2 meas. 

2 steps diag. backward to L <K &■ L; d 1. 2), bring Rf up to Lf striking heels tcge:her (d 3', &- 
rest (d 4). The L hand remains on hip all the time &- the R swings to 1st pos. on d I, 2, &- is 
extended far back in 2nd pos. on d 3. at the same time the chest &- head being raised :o the proudest 
position possible. Maintain this on d 4 2 meas. 

Repeat all 3 times more, starting L, R &- Lf 12 meas. 



11 yii n , 

Slide hop twice diag. forward K on Rf 'd 1. 2) &- on Lf (d 3, 4,'. The arms are parallel &- both 
to R side a little belovv/ shoulder level '■ lateral pos. ) for the 1st slide hop &- tDOih to L side for the 2nd 

2 meas. 

Move to R side £r turn completely around with the following steps: step Rf to side id I ), leap onto 
Lf turning to K side ' d 2 ). step on Rf again to R side ( d3 ), &- bring Lf up to Rf but put no weight 
on Lf Cd 4). The arms are 2 nd pos. (d b, 5th pos. 'd 2), 2nd pos, 'cT: 3), &- salute with R hand, 
placing L hand on hip (d4 > 2 meas. 



Repeat to L, starting Lf 4' meas. 

4 polka steps backward starting Rf. The arms swing in lateral pos. from side to side" to the R when 

startingwith Rf and vice versa 4 meas; 

4 slow running steps forward starting Rf Cd 1, 2, 3, 4). The arms swing to K side when stepping 

on Rf and vice versa 2 meas. 

Step forward on Rf &- rest (d 1, 2 ), step Lf forward &- rest (d 3, 4), bring Rf up to Lf striking 
heels (d5), £r hold (d 6, 7, 8j 4 meas. 



18 meas. 



EXPLANATION OF TERMS ; 

1st Position : The arms make a circle in front of the chest at the level of the middle of the chest. 

2nd Position : The arms are raised sideways a little below shoulder level. 

3rd Position : The R arm makes a half'circle over &- in front of the head £r the L is in 2nd pos. 

Reverse for " L arm in 3rd pos-" 
Vd Position Amplified is the same, except that the raised arm is less curved. 
4th Position : The Fk arm makes a half'circle over &■ in front of the head &- the L is in 1st pos. 

Reverse as above. 
5th Position : Both arms make a circle over &- in front of head. 
Lateral Positions have one arm in 2nd pos. &- the other in 1st. 

Step Swing means step on one ft, swing the other ft. forward &- at the same time hop on the 1st ft. 
Step or Slide Hop is to step on one ft &- then hop on it lifting the other ft backward. 




DANCES BY LOUIS H. CHALIF. 



The following list of dances composed o.' 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIA , 

1 — Easy. 
2— Of a little 
3 — Rather diffij 
4— Difficult 
d — Duet dance. 
B — Group danci 
8— Solo danct. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swrords. Minuet, 12or8cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Folska. Swedish d or g 2. 
Polonaise. Music only, SOc. g 1. 
Krakowiak. By Glinka: d or g 2. 
Maid-o£-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Tsardas. s or g 3. 
The Magyar. Csardas s or g 3. 
Tnd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Fete de Jardinier. P; 



nd 



antom 
dances." $10, 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 
In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note: — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 
Long Dance. Swedish 
Ring Dance. Swedish. _ 
First of May. Sw. SOc. w. folk sone. 1. 
Mountain Trio Dance. 
May Dance. German. .. 
Westphalian Peasant Dance 
Bavarian Folk Dance. ' 
Cracovienne. Polish. 2, 
Goralski Taniec. Polish 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborik. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



. 1. 
1. 
w. folk song. 

Norwegian. 

1. 



1. 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1 
Hull's Victory. 2 

Windsor 



SOc. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(LaTempete). 1. 
Terrace. 2. 



CREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk s 3. 

Sprine Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the LarkKSchubert). In.s3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humorcike (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, t 2. 
Columbine. French s or g 3. 
The VUlage Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegifrka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant.2. 



ESTHETIC. 

Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3, 
Bluette Polka, s or g 3. $3 
Esthetic Waltz, s or g 2. $2 
Eugenie Onyegin. Waltz s o 
The Fairy Queen, s or g 2. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 
Little Fairy Snowflake. s. or 
Midsummer Night's Dream: 
the Fairies. 12 or 24 girls. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $; 
Papillons d'Amour. Waltz tim 
Petite Coquette. 2 or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia.' 
Polka Miniature, s or g 2. $3 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $ 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, 1 
Furlana. 2. I Minuet W i 

La Russe. 1 . Sylvia W, 1 

The Countess. 2. I Gavotte\ 

Mazur Waltz. 2. 
DESCRIPTIONS of all the B 
Dances, old and new. in the 
beautiful, modest, teachable an( 
ard form, are published by the 
at $.S0 and up. 

MUSIC for the newest k; 
dances, in the pieces most appn 
us and the public, is carried in s 
prices from 2S cents ud. 

OTHER WORKS 

For sale only by the Schoc 
THE 

CHALIF TEXT BOOK OF DA 

Vol. I. The standard positions a 
fundamental exercises. These 3 'i 
scribed to the minutest detail, i i 
the book is useful alike to the s \- 
who has no teacher, or the best 
ers. 171 pp., ill., price postpai.d, ^i 
Music for the Classical Exercis ' 
Technique, as described in the 
Book, and including all used ; 
Chalif School. Third edition: ; ! 
collection of 47 beautiful pieces, i 
hitherto; engraved. Postpaid, $3 
Grammar of the Art of Dancii 
Friedrich A. Zorn. An importanl 
to the profession. With musica 
plement, express paid, $10. 



THE CHAUIF NORMAL SCHOOL OF DANCING ^ ""'-^ ^°' 



Conces*ning 



IT IS located in New York City, at 7 West 42nd Street, and teachei 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

ITiis is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quivr all of its spirit and scope have 
been retained. The result is an art which while allowina: an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 



2nd: L. H. CHALIF 



The second factor in the immense success of this School h | 
been the experience and teaching ability of its principal. From 
years of age a student in the Imperial Ballet School of Russia, i 
Moscow, then successively a solo stage dancer, ballet master at tl | 
Odessa government theater, instructor of dancing in leading Ne 
York private schools and director of the Chalif Normal School, t 
experience has been long, complete and invaluable to his pupils. . . 
A certain ability at teaching has also made the school popula 
although it has prevented the use of assistants, since it has bee 
found that the students will listen to no one else while the principi 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation cent 
of New York, "the most popular summer resort in the country," h 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cau 
for the fame of the Chalif School. Everywhere there is a deman'' f 
tW real dancing, and here one can be trained to teach it. 

COURSES 

Each year during June and July there is a normal school wi 
cVasees all day, both in the regular Chalif and Ballroom work and 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessio 
are held during a fortnight of the Christmas holidays and on Satq 
days and some week-day afternoons throughout the wdnter. Cataloj 
of any of these, or of our dancing teachers' shoe and supply hou| 



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JAPANESE GROUP-DANCE 

ft SIMPLE OANCe FOR 8 OR 16 OIRLS, 

L0UI5 H-CHALIF 

7 Wast 42 nS. S.t,91aoUork 



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THE BEAUir OF THE ALPS 

JEAN AN. JEANNETTE 

MARrsiA 

COLUMBINE 

THE POLISH PRINCESS 

WHITE R05t MAZURKA 

IMAZOVIAN M/lID 

TAKBOURINE 

THE ANPALU5IAN GiPSr 

L'AUTOMNE 

JAPANESE GROUP DANCE 

1/EGEIRKA 

BOW AND ARROW PANCE 

APOLLO 

5AIL0R'5 ^^RH?\?i 

THE OrPsY CAMP 



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** A Japanese Group Dance *' 

Arr. By Louis K. Chalif. 

Start in a single file, 15 riinning steps forward 

and with the 16th step all face rt. 4 Meas , 

(now all are side by side in a single file) 

Fifteen running steps forward toward the front 

and with the 16th step stamp the ft. and face 

partners. ---------------- -_-____ -4 " 

1254557 8. 
X X :■[ X'X X X X. 



B., XXX X'X XXX. 

#2. Face partners: Step rt. ft. to rt. side count 1, hend 
rt. knee and bring' left ft. behind the rt. in 5th pos. 

count 2. - - - - - --- — — — __„_____. -__-l 

Repeat the same starting with left ft. to left side - - -1 
Repeat the same to the rt . and 1ft . -2 

#2B. Sixteen little running steps around each other 

in a circle with rt. shoulders toward each other - -4 

Repes^t all three times — — — — — — — — — — — — — — — — — 24 

The all second figure include ----- — — — 32 

For this figure the parasols are kept in the 1ft. 
hands and a fan in the rt,. hand. 
FJnish this figure side by side with partners 
facing forward. 



XX XX XX XX 



X/X X/X x/x X/J 



All #ls ru.n forward and #2s backward with 

eight little running steps -- - --- 2 

Hop on both ft. together count 1-2, repeat ent. 3-4 1 

Three little hops in succession cnt. 5-5-7 1 

The same is repeated #ls going back and #2s 

forward __-_----- - -__ - 



Repeat all 3 ti^-es forward in back 
X X X X 
X X X X 



24 
52 



-2- 

#4a. All face rt. and run in a circle with little steps - 8 Meas, 

finish at the place from wnich started. 

B. Step rt. ft. to rt. side cnt. 1 turn half way around 

to rt. and stamp left ft. cnt. 2 1 " 

Step 1ft. ft. to 1ft. side cnt. 1 turn half way 

around to left and stamp rt. ft. cnt. 2 _----_---i •' 

Repeat all A. B. 2 " 

C. Run 16 little steps around each other in a circle 
v/ith rt. shoulders toward each other, and finish 

in same place from, which started -------------4 " 

Repeat all A. B. and C. two times --------- -16 " 

The fourth figure include ------- -32 •« 

X X X X 
Figure A.& B. — 

XXX 

Figure C.-- X X X X 

/ / / / 
X X X X 



#5a. All face rt. in single file. Divide the line in 
the centre, the first 4, run to the rt. #5 runs 
around to left with 32 little running steps - the 
first 4 run in to the centre first, the other 4 
fall in behind the first 4 -__8 

B. Form a pyramid in the centre, with the first one 
sitting cross-legged, t?ie second kneeling behind 
the first, and the others arranged in back of these 
80 that each is one head higher than the one in 
front of her. Lay down the parasols at the sides, 
the first at the left side, second at the rt. etc. 

C. All extend, the arm.s forward cnt 1, back to chest 
cnt 2, to side cnt 3, to chest cnt 4, (keep 1st 

finger extended and other fingers loosely closed) - - - - 2 
Repeat all C, seven times ---- ----------- -14 

D. Keep arms at shoulder level with wrists bent up, 

bend head to rt. cnt 1, bend to 1ft. cnt 2--------1 

Repeat D. seven times ________--__-7 

E. All raise parasols to centre cnt 1, lower to side 



-3- 

cnt2 1 Meas, 

Repeat E. seven times -_-_-----------— --7 " 

The fifth figure include - ~40 " 



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#6a. Rise from floor keep parasols in left hands 
and run in a single file in a zigzag off 
the stage. 



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JEAN ET JEANETTE 



FRENCH CHARACTER PANTOMIMIC DUET DANCE 



Arranged 

By Louis H. Chalif 

Other Interpretive and Greek Dances by the same author are listed belou. and described 
on the back cover. The price of each, as of this dance, is $3.00 They can be procured 
ONLY f r m 



TheChalif normal 
school of dancing 

1 WEST 42ND ST.. NEW YORK 



WIND mo ^mE AUTUMN 

CVMB^L OflNCE HUMORESQUE 

FOREST SPIRITS MOMENT MUSICAL 

GREEK MI)ID£NS PLAYING BALL THE MOON DANCE 
SPIRIT OF SPRING BARCAROLLE 

Copyright. 191 '^. by Louis H. Ch^lif 



Jean et Jeannette. 




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JEAN ET JEANNETTE 

A FREMCH CHIIRACTER PAMTOMiMIC DUET DANCE 

BV LOUIS H. CHALIF 
I 

The boy & girl both enter from back L corner of stage, the 
girl first & the boy following her. 

They dance diag. forward R. 

The boy's part is : 2 polka steps forward starting R ft (arms 
lateral), slide hop on R ft & 3 steps forward (arms extended 

toward girl) 4 meas 

Repeat ;.... 4 

At the same time the girl dances as follows: 2 polka step 
forward (R & L) (arms lateral), slide hop on R ft. turning 
half way around to R to face boy, (arms 3rd pos.) & 3 steps 
backward (arms 2nd pos., palms down). 
In repeating the same take the polka steps backward, & turn 

completely around 8 

II 

In this figure the boy tries to catch the girl. Each time he runs 

to the place where she is & she evades him, running somewhere 

else. 

They still face each other. Both start with R ft. 

Step R ft to side, slide L ft behind & bend both knees as if 
making a courtesy. Boy's arms are lateral to R side. Girl s 

R hand finger is at chin and L hand supports R elbow 1 

Repeat to L 1 

He offers his arms & they run towards each other, but she 
evades him & runs past & they turn to face each other 
having changed places. (See diagram 1) 2 

Both step and bend rwice (R and L) as before and this time he 
runs to her place and she runs to the L. (See diagram 2) 4 

Step bend twice (R and L). He runs to her place and she runs to 
the R (see diagram 3)- He gives an angry stamp 4 

Step bend twice. They run towards each other and this time he 
catches her immediately, by both hands. They struggle with 
each other, bending R, L, and R. (See diagram 4) 4 

Both make a complete turn (away from each other) and the girl 
breaks awayi Both run backwards in a semicircle with many 
very little steps. They come together back to back at rear of 
stage. (See diagram 5) There is no pause 2 



JEAN & iEmtiETTE CONTIf^UEO 

He wishes to dance & turns toward her oflFering his L arm by 

mistake. She slips her L arm through his ...l meas. 

Immediately she sees his mistake an agrily shakes her head and 

stamps her foot 1 

He then offers his R arm which she takes with her R, having 

expected him to offer his L arm again 1 

He is angry at her mistake and stamps his foot 1 

22 
III 

This time they find the right position and begin to dance. 

The boy offers his R arm and the girl slips her L through it. 

She holds her skirt with her R hand and his L hand is 2nd 

pos. All this takes no extra time - they take the pos. as they 

begin to dance. 
Both begin R ft. Point R heel diag. forward and bend R ft in 

front of L ankle (counts 1, 2) 1 

Slide hop, hop on R ft diag. forward R 1 

Repeat these 2 meas. 7 times more alternating L & R & 

moving in a zigzag forward 14 

16 
IV 

In this figure move slowly backward. 

Face partners. Both begin R ft. 
Slide R ft to side and 3 steps in place. 

Slide hop, clap L hands together raising them high 2 

Slide hop toward each other and 3 steps in place. On slide 

hop clap all 4 hands together 2 

Repeat all 3 times more, always starting R ft .^ 12 

16 
V 

Face partner and join inside hands. Both begin with outside ft. 

Point heel forward 'ct. 1). point toe back (ct. 2) 1 

2 polka step moving forward and turning once around (away 

from partner). Start with outside ft, 2 

Extend R ft forward with a cutting movement (ct. 1); extend L 

ft forward (ct. 2) (Boy's part 1 

Slide hop on outside feet toward each other and' 3 steps backward 

away from each other 2 

Slide hop on outside feet toward each other, and the girl take 

2 steps back and the boy 2 forward 2 



JMN & JEANNETt^ CONTINUED 

Face back of stage. Join inside hands. Both begin outside ft. 

Point heel forward and toe back 1 meas. 

2 polka steps turning once around (away from partner) 2 

Step outside ft to side and courtesy and bow 1 

Move in a diag. line forward to R, the boy dancing forwards 
and the girl backwards, with the following step, both starting 
Rft. 

Boy's part : 2 polka steps forward and slide hop and 2 steps 

forward 4 

Girl's part : 2 polka steps backward and slide hop, slide hop 
turning completely around to face boy again arid 2 steps 

backward. 

They finish in the following tableau and pause for 2 counts - - 
The boy extends both hands forward in entreaty, while the girl 
stands with R ft back and bearing the weight of the body, with 
both hands extended forward with palms out as if repelling the 
boy. 

The girl turns and funs forward in a semicircle to back of stage* 
The boy runs after her and overtakes her, running in front of 
her to head her off. He catches her R and with his L pulls 
her toward him ; she turns all the way around to R with her 
hand still held by his. Her L hand she keeps held high as she 
turns, and when she finds herself in his arms she puts her L 
hand in front of her face, palm out, to prevent him from kissing 
her. Pause .4 

She turns to L, still keeping his hand, and they join tsoth hands 
and both make a boy's bow raising the joined hands to 2nd 

pos../: :■■:.■ :■■■■■■ --^ ■ .^ 

22 " 



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DANCES BY LOUIS H. CHALIF. "Ljliri^'SJe^'Ss^Td'." 

sale only by Louis H. ChalJf, is eomplete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2 — Of a little difficulty. 

3 — Rather difficult 

A — Difficult 

d — Dnet daace.. 

C — Group dance.. 

a — Sola 



tun dai 
)^ danci 



NATIONAL. $3 Each. 
Saltarella. Sicilian d. or g. 2. 
Siciliano. Sicilian s. or g. 2. 
Tarantella. Neapolitan s. or g. 2. 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gltana. Music only. Andalnsian s. 3. 50c. 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d. or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2, 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Sv/ords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. Austrian Peasant d. or g. 2, 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. 50c. g. 1. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasatchok. Russian peasarLt d. or g. i. 
Donskoi Cossack Dance, s, or g. 3. 
Csardas. d. or g. 3. 
Csardas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 4. 
Saibara. Japanese s. or. g. I. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance, Greek s. or g. 3. 
Forest Spirits. Greek For 12 young women. 2. 
Greek Maidens Piaying Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s, 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Onie .tal Interpretive s. or g. 2. 

BALLROOM. 

Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. ' Gavotte Waltz. 2. 

I,_azar Waltz. 2. 

De:cription only, SOc. 



CHARACTERISTIC BALLET. $3 Each. 



Aeroplatie Glide. Z. 
Dream Waltz, i. 
Hesitation Waltz^ the 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northamton Glide. 2. 



One-Stepv 1. 

La Petite Waltz. 2. 

Tango. The Parisiarc 
fovm of the Argen- 
tine Taaj^o, 12pp_,$3_ 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. I. 



Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pknt. ballet, d. 2. 
A Russian Wedding. Ballet for 8,. 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantaaraime & dance, 

in 3 parts. 2. 

BALLET 
La Fete de Jardinier. Pantomime & 6 dances-. $10. 
Christmas Festival Series of Dancei Suitable 

for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pant, ballet; $10. 

FOLK. ?1 Each. 

Note: — The numerals used with these dances 
denote much easier grades than. in. the other 
categories. 

Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. I, 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Pc4ka^ 2i 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The WheeL .^thletic. for men or boys. T. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Sivedish. 1. 

First of May. Swedish. SOc. With folk song. I. 
May Dance. German. 1. 
Westphalian Peasant Dancer 2. 
Cracovienne. Polish. 2. 
Goralsky Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Miatelitza). Russ.ian. E. 
Khorovod (The Crane). Ruisian. I- 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2, 
Ritka. Hungarian. 3. 
Csebbogar. Hungarian. I. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian^ I 
Scalp Dance. .\mer. Indian. 1. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. 50c. 

Eugenie. Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s. (or g.) from ballet Sylvia. 2. )2L 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse BriUante. s. or g. 3. $3. 

Midsummer Nighfs Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 

DEMI-CHARACTER. $3 Each. 

The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spanish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s. or g. 4. 

Jean et Jeannette. French d. 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3. 

Sailor's Hornpipe, s. or g. 1. 

The Polrsh Princess. Polish s. or g. 3L 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. 

Japanese Group Dance, For 8 or 16. $2. 1. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Automne (Bacchanal), d. 3. 

CONTRA. SOc. Each. 



Arkansas Traveler. 2. 
Beaux of Oak HilL 2 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. I. 
Hull's Victory. 2. 
Money Musk. 2. 
Off She Goes. 3. 



Petronella. 2, 
Pop Goes the WeaseL 
Portland Fancy. 1. 
Soldier's Joy. 2. 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3. 



EXERCISES. 
The Classical Exercises for Technique. 

.An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
lirief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CMAUF NORMAL SCfiOOl. OF DANCING 



A. Fevr WorAtt 
Concerning It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical traLnine. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the i-.hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

lat: CHALIF DANCING 

This is the classic art taught by the Imperial Baltet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which whiie allowing an amateur 
to make rapid progress is yet authetrtic, beautiful, utterly captrvatinff 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development estlietically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



2ndr L. H. CHALIF 



The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Irriperial Ballet School of Russia, in 
Mosxxiw, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. ... 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chahf School. Everywhere there is a demand for 
the re«il dancings and here one can be trained to teach it. 

COURSES 
Each year during Ji:ne and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



SPANISH PEASANT DUET DANCE 
ARR. BV LOUIS H. CHALIF 

PR(CE$3.00. OTHER NATIONAL DANCES. BY THE SAME AUTHOR. 
ARE LISTED BELOW. AND DESCRIBED ON THE BACK COUER. THEV 
CAN BE PROCURED FOR A LIKE PRICE & ONLY FROM 



THE CHALIF 


NORMAL 


SCHOOL OF 


DANCING 


7 WEST 42ND STREET NEW 


YORK CITY 


Furlana 


Gavotte Directoire 


Saltarella 


Menuet de la Cour 


Siciliano 


Queen of Swords 


Tarantella 


Sword Dance 


Tyrolienne 
Jcta Aragonesa 


Highland FUng 
Polska 


Bolero 

La Mancha 

Madrilena 

Cachuca 

La Feria 

Ole Gaditano 

La Gitana 

La Paloma 

Sarabande 


Krakowiak 

Maid-of -Honor 

Lezginka 

Plyasovaia 

Russian Quadrille 

The Bride's Dance 

Kasatchok 

Donskoi Cossack 


Pavane 


Csardas. d 


AUemande 


Csardas. s 


Chaconne 


The Magyar 


Gavotte 


2nd Hungarian Rhapsody 


Musette 


Ca la Breaza 


Menuet de la Reine 


Saibara 


COMPLETE LIST OF DANCES ON 


BACK COUER 


COPYRIGHT 1915 BY LOUIS 


H. CHALIF 



Jota ili^agoncsa. 



Allegro. 



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Jn<a Aragonesa. 4 



Jota Aragonesa 

SPANISH DUET DANCE 

For one or any number of couples, moderately easy, arr. by 

LOUIS H. CHALIF 



^ The Jota of Aragon is a dance of great vigor & sharp accent, the Aragonese being a 
more primitive people than the other Spaniards. Yet it evidences the notable pride of 
the Spanish race, especially showing it in a haughty lifting of the head at the close of 
every phrase of the dance. 

^ Castanets may be used. The costume for the man should be a short, square coat, knee 
breeches of black or dark brown velvet, white stockings, shoes consisting of a heelless sole, 
an upper over the fore part of the ft & a strap over the instep, a bright colored sash around 
the waist & a handkerchief around the head. 

^ The woman's costume is a full, circular skirt, 8 m. from the floor, of dark silk with red 
flowers, black velvet bolero, a white waist with short sleeves, the hair done low on the 
neck, with a rose in it, & slippers with low French heels. 

^ The music is counted 1 , 2, 3 to a measure; when 6 counts are named 2 measures are 
included. 

^ The name is pronounced khota (a very rough h) ah-rah-go-neh'-sah. 

^ Before starting both stand on L ft with Rf pointed toward each other, R shoulders 
nearest, R hands on hip, the fingers closed, backs of fingers on hip, L hand overhead, 
& heads very erect & regarding the partner. 



Spanish Duet Dance 2 
I. 

Partners face each other sideways to the audience. Both starting Rf do a demi-rond de 
jambe (half-circle) forward in the air with Rf (ct and), step Rf across in front of Lf 
(ct 1 ) , slide on Lf back (ct 2) , & step on Rf in the same place as before (ct 3) . The L 
arm swings slowly forward to 1st pos., taking 3 cts to do so, & the R arm is sideward 
& backward below shoulder level. The trunk is inclined forward somewhat & twisted, on 
account of the opposition of arms & feet I meas 

Repeat 3 times more, starting L, R & L ft alternately 3 meas 

Each place the R arm around partner's waist, raising L arm overhead, & turn partners once 
around with: Slide hop on Rf lifting Lf behind (ct 1, 2, 3), 3 steps forward starting 

Lf (ct 4, 5, 6) , & repeat same (6 cts) . Take the slide hop as a flying movement . 4 meas 

Repeat all, but with the last 3 steps (the last meas) separate a little, the boy moving to 

L & the girl to R, & finish on Lf with R shoulders toward partner 8 meas 

Remaining on Lf, Stamp with Rf in front of Lf (4th pos.) 5 times, once to a meas, 
without transferring the weight to Rf. The L hands are overhead & R hands on hip 

5 meas 



2 1 meas 
IL 

Slide hop toward each other, both starting Rf, lifting Lf behind (ct 1, 2, 3), & 3 
steps m place starting Lf (ct 4, 5, 6) . The arms are 3rd pos. with R arm up on ct 1 , 2, 3 
& the trunk & head are thrown somewhat back; on ct 4, 5, 6 the arms are crossed in 1st 
pos. & the trunk bends very slightly forward 2 meas 



Repeat 



Change places with partner, passing to the R, thus: both starting Rf make I waltz turn 
consisting of 2 waltz steps (cts 1-6), & make a half-turn more to R, so as to finish 



Spanish Duet Dance 3 

facing partner, with 2 steps & stamp. These last are in detail: step Rf forward & hold 
(ct 7, 8) , step Lf turning halfway around to L (ct 9) , stamp on Rf m front of Lf without 
transferring the weight (ct 10), & rest (ct II, 12). On the waltz turn the arms are 4th 
pos. with R arm up to 4th with L up, on the turn are 2nd & 5th pos., & finish with L arm 
up & R hand on hip, while the R shoulders are toward each other 4 meas 

Repeat all both starting Rf again, passing to the R & returning to original places. 8 meas 



16 meas 

III. 

Balance toward each other, both starting Rf & stepping so far in the forward direction as 
to become back to back. The balance is thus: step Rf toward partner (ct I), bring Lf 
up to Rf in 5th pos. in front, rising on both toes (ct 2), & lower the heels (ct 3). The 
arms are 3rd pos. R arm up. Repeat starting Lf back & rising on the toes with Rf in 
5th pos. in front (ct 4, 5, 6) ; the arms are crossed in 1st pos 2 meas 



Repeat 



Pass completely around each other, remaining back to back, thus: Step on Rf to side (ct 
1 ) ; draw L toe along the floor toward Rf (ct 2), step Lf behind Rf at the same time 
lifting Rf suddenly about calf-high with the knee turned out (ct 3), & repeat this 3 
times more (9 cts), finishing in original places. The R hand is overhead & describes 
small inward circles, 1 to each meas; the L hand is on hip; and the trunk is bent to L 
to look at L toe 4 meas 

Repeat all, but do step draw around each other 3 times only, & finish with a stamp on 

Rf in front of Lf on the 1st beat of the last nreas. Finish with R shoulder toward each 
other, & when stamping reverse the arms so that R hand is on hip & L hand overhead 

8 meas 
16 meas 



Spanish Duet Dance 4 

INTERLUDE 

Balance once toward each other & back, with the steps of the first 2 meas of Fig. Ill, 
but be farther apart 2 meas 

The girl repeat the above 2 meas & the boy kneel on his R knee, extending his Lf for- 
ward with knee straight 2 meas 

4 meas 

IV. 

Boy's Part 

Remam kneelmg for 14 meas, during which time describe V/2 large circles with the arms 
around to the R, keepmg arms approximately parallel. Each circle occupies 4 meas. 
The trunk follows the movements of the arms, bending forward first, then to R, far back, 
& to L 14 meas 

Rise with the weight on Lf & almost simultaneously make a quick pirouette on Lf, turn- 
ing to R side once around ( 1 5th meas) . Stamp Rf forward without changing the weight 
to it on the I st ct of the 1 6th meas, & finish with R shoulder toward partner, R hand on 
hip & L hand overhead 2 meas 

Girl's Part 

While the boy is doing the above, dance around him once to R, as follows: starting Rf 
do 1 waltz turn to R consisting of 2 waltz steps, traversing |4 of a circle. The arms are 
4th pos. with R arm up to same with L up, & the trunk bends to L & R 2 m.eas 

With R shoulder toward boy, balance toward him starting Rf & balance back starting 
Lf, using the same balance step & arm movement as in Fig. Ill 2 meas 

Repeat all, starting Rf again & progressing another quarter of the circle, balancing 



Spanish Duet Dance 5 

toward the boy's back 4 meas 

Repeat, progressing another quarter . .' 4 meas 

Repeat the wahz turn returning to original place 2 meas 

Step on Rf forward, with R shoulder toward partner as if balancing (ct 1,2), step Lf 
back (ct 3), stamp on Rf in front of Lf (ct 4), & rest (ct 5, 6). Finish with R hand 

on hip & L hand overhead 2 meas 

16 meas 

V. 

In this Fig. partners face each other in the I st 4 measures, then separate from each other, 
each moving to his R side. 

Both step Rf to side, swing Lf across in front of Rf, making an additional swing from 
the knee (fouette') & hopping on Rf (ct !, 2, 3), step on Lf across in front of Rf (ct 
4, 5), & step back on Rf to same place as before (ct 6). The arms are 2nd pos. on 
ct 1 , 2, 3 & lateral pos. to R side on ct 4, 5, 6 2 meas 

Repeat starting Lf 2 meas 

Each move to his R & turn once around to R with Step swing twice, ('. e., step Rf & swing 

Lf forward, hopping on Rf , & repeat same with Lf . The arms are 4th pos. with R arm 
up & same with L up 2 meas 

Continue moving to R with a 3-step turn, thus: step Rf to R side (ct ] , 2) , step Lf to R 
side turning to R (ct 3), step Rf to R side (ct 4), & hold (ct 5, 6), with Lf pointed to 
side, L shoulder toward partner, L hand on hip & R arm overhead 2 meas 

Repeat all starting Lf & returning to paitner . 8 meas 

16 meas 



Spanish Duet Dance 6 

VI. 



Dance around each other to R as follows: Both starting Rf make 1 waUz turn, traversing 
]4 of the circle. The arms are 4th pos. R arm up & same with L up 2 



meas 



Slide hop toward each other on Rf & 3 steps in place, as in the 1st 2 meas of Fig. II 

2 meas 

Repeat the above 4 meas 3 times more, finishing in original places 12 meas 

Both step on Rf to R side, turning L shoulder toward partner (ct 1 ), & hold (ct 2, 3). 

The L hand is on hip & R hand overhead .; 1 meas 

Change places turning once around to L with 3 steps, girl passing in front, thus: step Lf 
to L side (ct 1,2), step Rf to L side turning to L (ct 3), stamp on Lf to L side with a 
transfer of weight (ct 4), & hold (ct 5, 6). Finish with R shoulders toward each other, 

R hand on hip & L hand overhead 2 meas 

Repeat starting Rf & returning to original places, the girl again passing in front. .2 meas 

2 1 meas 

POSITIONS OF THE ARMS 

I st Position : The arms make a circle in front of the chest at the level of the middle of 
the chest. 

2nd Position: The arms are raised sidev. ays a little below shoulder level. 

3rd Position: The R arm makes a half-circle over & in front of the head & the L is in 

2nd pos. Reverse for "L arm in 3rd pos." 3rd Position Amplified is the same, except 

that the raised arm is less curved _ 

4th Position: The R arm make a half-circle over & in front of the head & the L is in 

I st pos. Reverse as above. 

5th Position: Both arms make a circle over & in front of the head. Lateral Positions 

have one arm in 2nd pos. & the other in 1st, 



THE JOY OF 
THE ROSE 

PIERROT PANTOMIIVIIC SOLO DANCE 

By LOUIS H. CHALtF 

other Characteristic & Demi-Character dances by Mr. Chalif are listed 
below. Their price is $3.00 each. They can be procured only from 

The CHf^LIF NORMAL 
SCHOOL of DANCING 

7 WEST 42ND STREET. NEW YORK 



Light and Darkness. Greek duet with pantomime. 3 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantommie & dance. 

in 3 parts. 2. 
The Beauty of the Alps. Tyrolean Waltz s. or .l;. 2 
The Andalusian Gipsy. Spanish s. or g. 3. 
The Gipsy Camp. Spanish tambourine s. or g. 3 
Le Toreador d'Andalousie. s. or g. 4. 
Jean et Jeannette. French d. 2. 
The Village Belle. French s. or g. 2. 
Columbine. French s. or g. 3. 
The Joy of the Rose. Pierrot pant. s. 2. 
Sailor's Hornpipe, s. or g. 1. 



The Pied Piper. Characteristic, 1 adult & g. children. 

The Polish Princess. Polish s. or g. 3. 
Stach i Zoska. Polish d. with panto. 2. 

Marysia. Tcdish s. or g. 3. 

The IVlazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

The Hussar. Hungarian Char. s. or g. 2. 

Wegiijrka. Hungarian Military d. 2. 

Japanese Group Dance. For 8 or 16. $2. 1. 
The Cherry Blossoms. Japanese d. w. pant. 2. 

Bow and Arrow Dance. Male s. or g. 3. 
America. 6 Characteristic dances, from Indian times 

to the present. 2. 

La Creole. Characteristic s. or g. 3. 



SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF OTHER DANCES BY THE SAME AUTHOR 



Copyright. 191 



byLoui s H. Chalif 



The Joy Of The Rose. 



Pantomime. 

AUegretto.fJ.: 



Arr, by Louis H.Chalif. 



Piano; 




Louis H.Chalif. 



I.Tempo di Polka, 
Dance. 



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The Joy Of The Rose. 4 




The Joy Of The Rose. 4 



The Joy of the Rose 

SIMPLE PANTOMIMIC SOLO DANCE 

by 

LOUIS H. CHALIF 



Q The dancer may be a boy or girl; the costume is of Pierrot. A girl would be called Pierrottine 
Q A dark cloak may be worn during the serenade which precedes the dance. A guitar is carried, 
hung from the L shoulder by a ribbon, so that it need not be held when necessary to use the hands 
in pantomime. Q Vigorous execution is required for the proper character of the dance, with high 
leaps &- hops. &- with the arms straighter than in Esthetic dancing. 

^0 INTRODUCTORY PANTOMIME if 
The Serenade 

Before the entrance the music plays 2 meas. 

Enter from L back corner of stage &■ move diag. forward R with 6 very slow steps and with the 
body slowly swaying from side to side, each step taking 2 counts, I meas. Start Rf. On the 1st step of 
each meas. pretend to strike the guitar with a downward stroke 6 meas. 

Pierrot, looking languishingly upward at Columbine's window, tells her of his love thus: He lays his 
R hand over his heart, stepping forward on Rf (efts I, 2), extends R hand upward toward her 
window with a very slightly nodding of his head (d:s 3, 4), &■ repeats these gestures with more of 
ardor (ds 5- 8 ) 4 meas 

A person in the R wing offstage, supposedly Columbine, throws a rose to Pierrot, but it falls to the 
floor at his L. Pierrot runs to it (ds I, 2) takes it up in both hands &■ looks at it ( ds 3, 4 ), kisses it 
rapturously, still held in both hands (ds 5,6), raises it up with both hands to admire it (d 7), &■ holds 
It there in his R hand, still admiring it (d 8.) 4 meas. 

He moves to the left, in a circle &- lays aside cloak &- guitar &- stands on Lf with Rf pointed forward, 
arms 3rd position with R arm up, still holding and admiring the rose. It remains in the R hand 
throughout the dance 4 meas. 



20 



meas 



1 polka step diag. forward R starting Rf (els I. 2), £r slide hop on Lf across in front of Rf 
(ds 3. 4). The arms are 3rd pes. with R arm up, &- the eyes look at the rose 2 meas. 

Move backward with 2 skipping steps (step hop-R &■ L; ds 1, 2), each time lifting the free 
ft backward with knee bent dr raised &- turned out. Each skipping step occupies but 1 d. The 
arms are in 2nd pos. 1 meais 

Step swing slowly on Rf (ds I, 2). The arms are in 3rd pos. with R arm up. 1 meas. 

Repeat all to L, R &- L .12 meas. 



16 meais. 

Point R heel to side (d 1), bend Rf in front of L ankle (d 2 ), at the same time hopping twice on 
Rf 1 polka step diag. forvvard R starting Rf (ds 3 £r 4). The arms are in 2nd pos. with palms 
forward on ds 1, 2, the trunk bending to the R &- the face looking toward the R toe 2 meais. 

Slide hop on Lf across in front of Rf (ds 1, 2), &- 2 changements de pieds (ds 3, 4), i. e., 
jump straight up from both feet, Rf being a little behind (d 3) &- land with Rf in front (d 4). 
Keep the feet close together while in the air. The arms are 3rd pos. amplified with R arm up 
on ds I, 2, &- 2nd pos. on ds 3, 4 2 meas. 

Repeat ail to L, R &- L 12 meas. 



16 



1 polka turn (consisting of 2 polka steps), moving diag. forward R starting Rf. The arms are 5th 
pos. on the 1st polka Sr 2nd pos. on the 2nd 2 meas. 

Slide hop hop hop on Rf. The arms are 3rd pos. amp. palms down. R arm up. 2 meats 

Repeat all starting L, R &• Lf &- moving diag. forward to L, diag. back to R &- diag back to L. 
12 meas. 



16 meas. 



m w, m 

Point R heel to R 6- hold ;ds 1. 2). The arms are 2nd pos., palms forward, the R arm lower 
than the L, &- the trunk is bent to R. so that one may look at the R toe 1 meas 



I polka step to R starting Rf. The arms are 2nd pos i meas. 

Step swing on Rf (ds 1, 2), cut backward (d 3), &- cut forward (d 4) The cut on d 3 is 
bring Lf down to Rf striking this out backwards. 6- finish with the weight on Lf &- Rf extended 
backwards. On d 4 the cut is strike Lf out forward, finishing with weight on Rf &- Lf 
extended forward. While making these cuts face somewhat to the R. For the 1st I, the arms 
are ist pos 6- the trunk bent forward a little, while for the 2nd the arms are 2nd pos. &- the 
trunk is thrown back 2 meas. 

Repeat all, starting L, R &- L 12 meas, 

16 meas. 

^ u. ^ 

Slide hop on Rf diag. forward R (ds I, 2). Open the arms to a large 3rd pos. amp., palms 
down, wrth R arm up 1 meas. 

Step Lf back (d I) &- step Rf back (d 2). The arms are 2nd pos 1 meas. 

Point L heel to L side (d I), bend Lf in front of R ankle (d 2), &- repeat (ds 3, 4), during 
these 4 ds hopping 4 times on Rf The arms are 2nd pos. with palms forward, the L arm 
lower than the R, the trunk bent to L 2 meas. 

Repeat all to L. R 6- L 12 meas. 



m ui. m 

Slide hop diag. forward on Rf '^ds I, 2) The arms are 3rd pos. amp., palms down, with R 
arm up ! meas 

2 steps backward ( L &- R; ds 1, 2). The arms are 2nd pos I meas 

Step swing twice (L &- R; ds 1'4). The arms are 3rd pos. with L arm up &- the same 'with R 
arm up 2 meas 

Repeat all, starting L. R £r L 12 meas. 

16 meas 



^ PANTOMIME ^ 

Pierrot's final appeal for love &- sympathy 

Step Rf forward &■ hold, extending both hands diag. upward to R toward Columbine's 
window (ds I, 2) I meas. 

3 conspicuous steps (L, R L). starting Lf back (ds 3, 4). Bring the hands together 
opposite the heart I meas 



Repeat all 

Repeat the 1st meas. of this pantomime 



2 meas 
..I meas 



Walk in a very small semi'circle backward to L with 4 steps, starting Lf The arms are in 3rd 
pos. amp., L arm up ^ 2 meas. 

Slide Lf back &- start to kneel slowly on L knee, extending the hands slowly toward 
Columbine's window I meas. 



Finish kneeling &- bring both hands together in front of the heart. 

Extend both hands toward the window in a last appeal for her love. 



I meas 
I meas. 



10 



EXPLANATION OF TERMS. 

1st Position: The arms make a circle in front of the chest at the level of the middle of the chest 

2nd Position: The arms aire raised sideways a little below shoulder level 

3rd Position: The K arm makes a half'circle over &- in front of the head &- the L is in 2nd pos 

Reverse for "L arm in 3rd pos, " 
3rd Position Amplified is the same, except that the raised arm is less curved 
4th Position: The K arm makes a half'Circle over &■ in front of the head and the L is in 2nd pos. 

Reverse as above. 
5th Position: Both arms make a circle over and in front of the head 
Step Swing means swing the free ft for\A/ard &- at the same time hop on the other 
Step or Slide Hop is hop on one ft &- lift the other backward. 




DANCES BY LOUIS H. CHALIF. ^'J^^^r^JS'.^l^'ZSiTa'Z' iZ 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1— Easy. 

2— Of a little difficulty. 

3— Rather difficult 

4— Difficult. 

d — Duet dance. 

g — Group dance. 

6— Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
TyroUenne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-o£-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csftrd4s. d or g 3. 
CsSrdSs. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHAKACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2 



BALLET. 

La Fete de Jardinier. Pantomime and 
six dances. $10. 

Christmas Festival Series of Dances. 
Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each, 
.\'ote:— The numerals used with the 
Folk and Contra dances denote mucli 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Korlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. C>ld English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. ,\thletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. I. 
First of May. Sw. 50c. w. folk song. 1 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1, 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance, .'"imer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2 
Hewett's Fancy. 1. 
Hull's Victory. 2 



50c. Each. 
Money Musk. 2 
Off She Goes. 2 
Petronella. 2 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1 
Soldier's Joy. 1 
Speed the Plow. 2 
Three-Hand 

Ring. 2. 
The Tempest 

(La Tempete). 1. 



Windsor Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 
Wind and Wave. Greek s 3. 
Psyche. Interpretive s or g 2. 
Forest Spirits. Grk. 12 yg. women. 2. 
Pompeian Flower Girls. Old Roman g 2. 
Greek Maidens Playing Ball. Simple 



and 



effective. 2. 



Cymbal Dance. Greek s or g 3. 
Spirit of Spring. Grk. Interpretive s 3. 
Summer. Greek Interpretive s 2. 
Autumn. Greek Interpretive s 3. 
Winter. Greek Interpretive s 2. 
The Moon Dance. Oriental Interpre- 
tive s or g 2. 
Cleopatra's Dance. Oriental Int. s or g 2. 
Moment Musical (Schubert). Grk. s 2. 
Barcarolle from "Hoffmann." Grk. s 3. 
Spring Song (Mendelssohn). Interp. s 2. 
Hark, Hark, the Lark!(Schubert). Ins 3. 
L'Automne (Bacchanal), d 3. 
Blue Danube Waltz. Interp. s or g 3. 
Song of the Robin. Interp. s or g 1. 
Chopin's Waltz, C sharp minor. Int. s 3. 
Chopin's Waltz in D flat. Int. flower d. 
Valse Caprice (Rubinstein). Int. s 3, 
Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Sjian. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $3. 
The Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g, 1. $2. 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1 Sylvia Waltz. 2. 

The Countess. 2 | Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents up. 

OTHER WORKS 

For sale only by the School 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CHALIF NORMAL SCHOOL OF DANCING ^ ^""^ ^"'^^ 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

Isti CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result k an art wt.ich while allowing an amateur 
to make rapid progress is yet authentic, b,*5utiful, utterly c^ptivatine 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 



Concerning It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a deman<^ for 
tW real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
Crosses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 






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L E Z GIN K A 

TRANSCAUCf)SIAN PANTOMIMIC DEMI-CHARACTER SOLO DANCE 

By LOUIS H. CHALIF 

OTHER NATIONAL DANCES By MR. CHALIF ARE LISTED 
BELOW. THEIR PRICE IS $3.00 EACH. THEy CAN BE PROCURED ONLY FROM 



THE CHALIF 
SCHOOL OF 



NORMAL 
DANCING 



WEST 42nd STREET. NEW YORK CITY 



Furlana. Venetian gondolier s. or g. 2. 

Saltarella. Sicilian d. or g. 2. 

Tarantella. Neapolitan s. or g. 2. 

Siciliano. Sicilian s. or g. 2. 

Tyrolienne. Austrian Peasant d. or g. 2. 

La Mancha. Spanish s. or g. 2. 

Bolero. Spanish s. or g. 4. 

Madrilcfia. Spanish s. 3. 

La Paloma. Mexican s. or g. 4. 

Cachuca. Spanish s. or g. 3. 

La Feria. Spanish s. or g. 3. 

Olc Gaditano. Andalusian s. 3. 

La Gitana. Music only. Andalusian s. 3. 50c. 

Pavane. Old French d. or g. 2. 

Gavotte. French s. or g. 2. 

Sarabande. Old French d. or g. 2. 

Gavotte Directoire. Pavlowa's d. 2. $1. 

AUemande. Old French g. 2. 



Chaconne. Old French d. or g. 2. 

Sword Dance. Scotch s. 3. 

Highland Fling. Scotch s. 3. 

Polska. Swedish d. or g. 2. 

Polonaise. Music only. 50c. g. 1. 

Krakowiak. By Glinka; d. or g. 2. 

Maid-of-Honor. Mazurka s. 4. 

Russian Quadrille. For 8 couples. 2. 

The Bride's Dance. Russian pantomime and •. 2. 

Kasatchok. Russian peasant d. or g. 3. 

Plyasovaia. Russian s. w. pantomime 2. 

Donskoi Cossack Dance, s. or g. 3. 

The Magyar. Csardis s. or g. 3. 

Second Hungarian Rhapsody. Csardas s. 4. 

Csardis. s. or g. 3. 

Cs^rd&i. d. or g. 3. 

Ca la Breaza. Rumanian s. or g. 3. 

Saibara. Japanese s. or, g. I. 



SEE BACK COUER FOR EXPLANATION OF ABBREVIATIONS 
AND LIST OF OTHER DANCES BY THE SAME AUTHOR 



COPYRIGHT 



1915 



BY 



LOUIS 



H. CHALIF 



Liczginka. 



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Lezg:iiika 

RUSSIAN PANTOMIMIC SOLO DANCE 

From TransCaucasia; fairly easy, arr. by 

LOUIS H CHALIF 

Q The dance come? from the Lezgin (hard g) race of TransCaucasia. a people full of fire. 
with quick &- \ioi tempers; they make the best Cossacks, and furnish the Tsar's bodyguard. 
Q The spirit of the dance is wild &- savage in the extreine, not that the dancer seems angry, 
but that he would kill anybody who mighi get in his vay When he lunges forward bristling 
with knives, u seems that no one would dare approach him. Q The dance is supposed to be 
performed by a mar;, but a woman may execute it as a novelty. <][ A man carries a knife each 
hand. & I in his rnourh hilt inward &- blade projecting out. If not a tnati, this 3rd knife had 
best be omitted. For safety s sake it is well to use rubber knives silvered over. 
(\ Costume. There are 2 long coats, each falling to 16 in from ihe floor. The upper one is 
green or gray, &- open at the throat &- below the waist The under one is buttoned up to the 
neck, &- IS red or blue, with little colored crocheted buttons. &- narrow slet^ves. The upper 
coat has full sleeves, open at the v^/rist 6- lined with the same color as the under coat. 
There are dark folds for holding cartridges, m diagonil lines on the chest, 10 on each side. 
The trousers are very full, Turkish style, &■ come to within 1 2 in. of the floor. The boots 
are very soft, light, tight fitting, &- heelless for riding use. The belt is of silver or gold, 
with a dagger case hanging at each side 

(\ The Russian Step here used is in brief: Step Rf forward (d I), bring Lf up to Rf 
(d and), step forward on Rf again (d 2), &■ pause (d and). In detail it is executed thus 



"in this dance- Lift Rf forward, at ihe same time bending l. knee (preparation), siep for- 
ward on Rf landing on the toe first 6- at the same time straightening the L knee {& 1), 
bring Lf up to Rf cutting Rf cut forward (d and), leap j-orward very sligr.tly onto Rf. 
bending the R knse after landing, &- immediately swing Lf forward straightening the knee 
((ft 2), in preparation for beginning the next Russian step with Lf The whole occupies 
one meas of music. The dancer should traverse much space with the step, seeming to 
skim over the floor. 

^ I. ^ 
In this Figure the dancer shouki be full of suppressed fire, like a volcano, quiet outwardly, but' 
boiling inside &- threatening to spread destruction at any moment. Long steps should be taken, 
the dancer pushing forward to cover much ground. Q Enter from L rear comer of stage 
&- dance in a large circle counterclockwise'-across back of stage. &- forward. 

2 Russian steps in line of diredion, starting Rf (2 meas). &- the same turning in an ex- 
iremely small circle to R (2 meas) The R arm is curved over &- in front of the head 
as a shield &■ ihe L arm is sideways a little below shoulder level. The trunk is bent 
forward somewhat . ■ 4 meas 

Repeal 7 time more always starting Rf, completing the circle &- finishing at center of stage. 

The arms remain in the above described pos. throughout the • Fig 28 meas 

32 meas 

^ II. ^- 
Step on the ball of Rf forward &- almost immediately step on Lf back, the 2 steps cc«Tiing 
almost together (on d I), step on ball of Rf back 6r immediately step on Lf in the same 
place as before, these 2 movements coming almost logether on d 2. This is as if Rf 
were stepping forward &- back while Lf marks time in place I meas 

Step on Rf across in front of Lf (d 1), slide on Lf back (d and), &- cut Lf out bact. 



Ward wuh Rf. lifting Lf a few inches from ihe floor (d 2) ! meas 

During "the above 2 mea; Ihe L arm i» curved over &- in front of ihe head &- the R 

S,rm i? at the side, back <:>\' shoulder line &- a little below shoulder level. Repeat the above 

2. meas 7 -}ime more starting with L &- R fl alternately d- reversing ihe arms from side 

to side 14 meas 

16 meas 

HI. 

I Russian step really more like 3 quick steps in place, to R starling Rf The arms are 2nd 



meas 



Po'nt L ^oe forward thu.v make a smd'l iuino Forward landing on Rf with Lf in front 
(cX i\ &- hop on Rf lifting Lf suddenly &- high, with knees shaiply bent '•& 2'. The 
arms go to 4th pos with R arm up, as if in preparation for striking forward with both knives,.! meas 

Repeal e%il 7 times more, starring with L &- R feet alternately. . 14 meas 

1^ meas 

lU. 

Face !0 tlie R Step on Rf {i\ I), b- hop on Rr lifting Lf with knee sharply bent (d 2). 
The R arm is curved Over &- m front of the head &• L arm is ai the side, down &- 
back ai before, 'i steps in place (L. R 6- L, d 3 and 4), reversing the arms 2 meas 

Repeat the above 2 meas making 1 complete turn to. R 2 mea 

Still facing R. step on Rf bending R knee (a charge) &- lifnng R arm forward as if to strike 
with It, L arm being doA-n &■ back (d I), step back on Lf (d 2), step Rf back raising 
L arm an if to shield the face (d 3). step Lf in place (d 4), change forward emphaticly 
on Rf again, raising R arm as if to strike violently (d 5), &- hold this pos. (d 6, 7, 8) 4 meas 

Repe'-xl all starting Rf again To do this the weight must be quickly shifted to Lf just be- 

fore ct - 1 . 8 mea s 

16 meas 

Before starting Fig V the weight must ba thus shifited cgain. 



m Uc m 

This Fig. is danced in a circle starting lowird R Side, then going forward, to L. &- back 

to place. 

I Russian srep stailincj \{f (ft 1 and 2| step L(" forward (ft 3). &• make a leap onto Rf (d 4). .2 meas 

Repeat same 7 times more staning Lf &• Rf alternately .H mees 

The arms are silways the same whether starting R ">r L ft, &■ are thus: on the Russian 

step the L arm swings forward ai about bhoulder level tr R arm sv\'ings down &- back; 

on the leap the R arm always svvings high up fotward &- L ariTi down &- back. Both 

arms should be relaxed &- used naturally, as i! msrely running. 

16 meas 

m ui. m 

Face forward, moving to R side take 3 very quick little steps with Rf aixA/ays in front of the Lf 
ipas de Bourrce) d 1', &- step on Lf, bending Rf in front of Lf about calf-high, with knee 
turned out sideways (d 2). The arms are 3rd pos B. arm up 1 meas 

Repeat same I meas 

Step Rf back (ct 1), step Lf back id 2;, step Rr forward d 3\ &- jump forward landing on 
both feet in 1st pos, (d 4). On d 1, 2, 3 the arms swing back &• down &- on d 4 they are 
^vvung violently for\A/ard &- high upward as if to strike with both knives .2 meas 

Repeat 3 times more starting to L R &- L 12 meas 

\6 meas 

This Fig. may be danced in a circle by always begnni.ig Rf thus: execute the Isi 2 meas 
making a quarter-circie &- finishing i^acing R, take 2 sieps backward toward the center of the 
circle, &- step tr jump forward to\A/ard circumference of circle. Do the pas de Bourree again 
progressing another quarter of a circle, so that the back is to the audience when doing the single 
step ir the jump. Continue thus twice more, the last execution of the steps &- jump being while 
facing forward. 



Lezginka 5 



VM. 



2 Russian steps to R side (R &- L). The R arm is overhead &- L arm dow nir back 2 meas 

Step Rf to side (d I), leap onto Lf to side turning completely around ic R (tour jete) Cd 2); 
step on Rf to side (d 3), &■ hop on Rf lifting Lf forward with knee sharply bent (d 4). 
The arms are 2nd pos. (d I), overhead d 2), 2nd pos. (d 3). &- 4th pos. with R arm 
tip (d 4 ) 2 meas 

Repeat all starting Lf to side 4 meas 

I Russian step foiward starting Rf. The arms are in 2nd pos 1 meas 

Step Lf forward &- immediately lift R leg forward high, with knee sharply bent (d I ', &- hold 
his pos. without hopping ct 2 ' The arms are 4th pos. with L arm up. The attitude should be 
(aken savagely, as if about to strike I meaf 

Repeat the above 2 meas 2 meas 

Turn in place to R several times around with many little steps on the toes. The arms are 
forward &- upward 3 meas 

Charge forward on Rf bending R knee, leaving Lf on the floor, knee straight. &- lift both arms 

still higher as if p.'-eparing to sdke. Take this attitu ds with great energy ft 1 ), Sr hold ' d 2 , .1 meas 

16 meas 

EXPLANATION OF TERMS 

1st Position : The arms make a circle in front of the chest at the level of the middle of the chest 

2nd Position : The arms are raised sideways a little below shoulder level. 

3rd Position : The K arm makes a half-circle over &■ in front of the head 6- the L is in 2nd pos. 

Reverse for " L arm in 3rd pos-" 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position : The l\ arm makes a half-circle over &■ in front of the head &- the L is in 1st pos. 

Reverse as above. 
5th PbSitiOh : Both arms make a circle over &■ in front of head. 
Lateral Positions have one arm in 2nd pos. &- the other in 1st. 



JANCES BY LOUIS 



1 IK ioiloumtj iis,t oi dances comoosed o/ 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accuraie description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIOna 

1— litr. 

1 — OI • lit«« _ 
1— >>tk«r iWM » 
4— Diaoilt 
4 — I>a«t rfaaM, 
S — Gr»ap daB9e. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. .Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Fcria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3, $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Garotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
PlyasovSia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
?nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERI$TIC BALLET. 

$3 Each. 

Light and Darkness. Or. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Kite de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pan- 

-.omime ballet. $10. 
In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
,\ole:— The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. .-Vthletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1. 
Mountain Trio Dance. Norwegian. 2. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1. 
Khorovod (The Crane). Russian. 1. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring, 2. 
The Tempest 

(I.aTempete).l. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and vcry.cflective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In. s3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (DvoHk). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, t 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2, 
The PoUsh Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegifrka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, j or g 4. %i. 
Bluette Polka. • or g 3. $3. 
Esthetic Walti. • or g 2. |Z 
Eugenie Onyegin. Waltz • or > J. ||, 
The Fairy Queen. » or g 2. |3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly. • or j 4. |3. 
Little Fairy Snowflake. s. or f. 1. Ifl 
Midsummer Night's Dream: Dane* of 

the Fairies. 12 or 24 girU. 1. $3. 
Mignonnette. j or g 1. $2. 
The Nightingale, s or g 2, $2. 
Papillons d'Amour. Waltz time ( J. |1, 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, t or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids. « or r J, |3. 
Valse Brillante. » or g 5. |3. 

BALLROOM. 

Music and Description, |L 

Furlana. 2. I Minuet Walts. I. 

La Russe. 1 Sylvia Walti. 2. 

The Countess. 2. I Gavotte Walta. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all th« Ballrooa 
Dances, old and new, in their moft 
beautiful, modest, teachable and slind- 
ard form, are published by the ichool, 
at $.50 and up. 

MUSIC for the newatt ballrooa 
dances, in the pieces molt approved kf 
us and the public, is carried in itoek at 
prices from 25 cents uo. 

OTHER WORKS 

For sale only by the School 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and 4i« 
fundamental exercises. These are da- 
scribed to the minutest detail, lo that 
the book is useful alike to the studtnt 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exwciui for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, |3.0S. 
Grammar of the Art of Dancinc, kr 
Friedrich A. Zorn. An important work 
to the profession. With musical iMp- 
plemcnt, express paid, $10. 



THE C] 



J¥ 



5CHOOi. OF DANCING 



A. Few VTor^V 
Concernin|( It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has rnet with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progress is yet authentic, beautiful, utterly captivating; 
to the student, and furthermore bringing health, kno.vledge of r3cial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most oiits'^nding succe-;s, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a comraletely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



2nd: L. H. CHALIF 



The second factor in the immense success of this School hu 
been the experience and teaching ability of its principal. From f 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet masttr at the 
Odessa government theater, instructor of dancing in leading; Naw 
York private schools and director of the Chalif Normal School, kU 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has beaa 
found that the students will listen to no one else while the princiyal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation ctntar 
of New York, "the most popular summer resort in the country," ha* 
helped its enrollment. 

4trt: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a deman'' i«r 
tl-« real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
c--.sses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur^ 
days and some week-day afternoons throughout the winter. Catalofi 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



LITTLE FAIRY 
SNOWFLAKE 

ESTHETIC SOLO OR GROUP OANCf 

By LOUIS H. CHALIF 

Other Esthetic dances by the same author are listed below. Each contains music 
and a complete description of the dance, and can be procured only from 

The CHALIF N ORMAL 
SCHOOL of DANCING 

7 WEST 42ND STREET.. NEW YORK 



Allegretto, s or g. 

The Blue Bird, s or g 4. $3. 

Bluette Polka, s or g 3. $3. 

Esthetic Waltz, s. or g. 2. 

Eugenie Onyegin. Waltz s or g 3. $3. 

The Fairy Queen, s or g 2. $3. 

Fireflies, s or g 2. $2. 

The Golden Butterfly, s or g 4. $3. 

Little Fairy Snowflakes. s. or g. 

Mignonnette. s or g 1. $2. 



The Nightingale, s or g 2. $2. 
Petite Coquette, s. or g. 
Pizzicato, s (or g) fr. "Sylvia." 2. $: 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 
Midsummer Night's Dream: Dance of 
the Fairies. 12 or 24 girls. 1. $3. / 
Papillons d'Amour. Waltz time g 3. $3. 



SEE BACK COVER FOR EXPLANATION OF ABBREUfA- 
TIONS AND LIST OF OTHER DANCES BY THE SAME AUTHOR 

Copyright. 19l^by Louis H. Chalif 



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SIMPLE ESTHETIC DANCE 

For Solo or Group 

by 

LOUIS H. CHALIF 



Q The character of the dance is light and dainty, in a tripping, fairylike way. Q The most suit' 
able costume is a white ballet dress"tau-|atan skirtS"With silver spangles. A fairy's wand may 
be carried in one hand, but is not necessary. Q Technical terms are explained at the close of 
the description. 

If used as a solo, when the introduction is played run onto the stage and take the following pose: 
Stand on Lf with Rf pointed behind, arms in 3rd pos. amplified, palms down, with R arm up. 
Q If used as a group dance omit the run but take the same pos. for the introduction 2 meas. 

I. THE COMING OF LITTLE FAIRY SNOWFLAKE 
Move diag. forward R with the following steps: Slide hop on Rf (dt I and), and repeat same 
on Lf (d 2 and) I meas. 

4 or more quick little steps starting Rf (d I and), and slide hop on Rf (d 2 and). The arms 
remain in 3rd pos. for both these meas I meas, 

Repeat all to L and K 4 meas. 

Run with many little steps to the L in a semicircle back to center of stage and turn once around 
to L with many little steps in place. The arms are 3rd pos. amplified with L arm up while 
running, 5th pos. while turning, and finish with forearms opened so that the arms are extended 
upward and almost straight. If a wand be used, whenever 5th pos. is indicated hold I end of 
the wand in each hand 2 meas. 



II. THE FALLING OF THE SNOWFLAKES. 
3 steps diag. forward R starting Rf (ds 1, and, 2) and hop on Rf raising Lf behind (d and). 

The arms are from 2nd to 5th pos I meas. 

Move diag. backward L with many little slides on the toes, keeping the feet close together. 
Move the arms slowly from 5th to 2nd pos. with palms down, fluttering the hands all the time 
to suggest falling snowflakes. Bend the trunk forward while moving back. The head looks 
forward but is bent to one side 1 meas. 

Repeat all to L, R and L .6 meas. 

8 meas. 

III. WITH THE TOUCH OF HER MAGIC WAND 
EVERYTHING BECOMES WHITE. 
Move diag. forward R with step swing twice (R and L; ds 1, and, 2, and). The arms are 3rd 
pos. with R arm up and the same with L up 1 meas. 

Step hop on Rf in same direction (d 1 and), and take 2 steps in place (L and R; d 2 jmd). 
Extend the R hand forward palm up almost emphatically and bend the trunk forward on d 1; 

on d 2 and, the arms are in 2nd pos. The wand is used on d I of the 2nd meas 1 meas. 

Repeat all to L and R, If a wand be used it is changed to the L hand the 2nd rime and back 

to K hand for the 3rd rime 4 meas. 

Repeat the 1st meas., starting Lf 1 meas. 

7 meas. 

INTERLUDE: DANCING FOR JOY AT WHAT SHE HAS DONE. 

Turn to L and move in a backward semicircle to R side with the following steps: Slide hop 
on Lf (d I and), and take 3 little running steps forward (L, R and L; d 2 and). Repeat same 

starting Lf again. The arms are 5th pos. on slide hop and 2nd pras. for the 3 steps 2 meas. 

Continue moving in the semicircle with 8 little running steps and then turn in place to L with 7 
little steps, finishing on Lf The arms are diag. to the side and up and the hands flutter while 

running and turning, and finish in the same pos 2 meas. 

4 meas. 
There is a short pause in the musie 

IV. REGRETTING THAT SHE COVERED UP THE FLOWERS. 
SHE BRUSHES THE SNOW AWAY 
Cross Rf over Lf and move to L side with 3 steps (K, L and K; ds 1, and, 2"1 meas.), and 
point Lf twice in 2nd pos. (ds 3, 4"1 meas.). This pointing of the ft is really an inward 
brush of the toe along the floor"the same movement as of a horse pawing the ground, but done 
with the greatest delicacy. The arms are 3rd pos. with palms down on the 1st meas. and on 
the 2nd keep the same pos. but wave slightly from the shoulders twice in time with the music. 

2 meas. 
Repeat all to L, R and L ^ meas. 

8 meas. 



V. THE SNOW FLAKE'S WHIRLING DANCE 

Step on Kf in front of Lf in 5th pos. &- hop on Rf lifting Lf behind with knee sharply bent 6- 
tumed out &- the ft close to the R leg (d I and), dr step on Lf behind Rf in 5th pos. 6- hop on 
Lf raising the Rf forward with knee sharply bent &■ turned out (d 2 auid). This step is a sort 
of bouncing in place, &• is not step hop forward &- back. The arms are 3rd pos. with L 
arm up on d I and, &- lateral to L side on d 2 and I meas. 

Turn in place once around to K with 4 stefK in place, each time raising the knees as in the 
previous meas. The arms are 5th pos 1 meas. 

Repeat all twice more 4 meas. 

Move in a semicircle to K toward back of stage with the following steps: Slide hop on Rf 
(d and), 3 little steps (L, R 6- L; d 2 and,) &- repeat. The arms are overhead with hands 
fluttering I meas. 

2 steps forward (R &- L). The arms are in 3rd pos. amplified ..I meas. 

10 meas. 



EXPLANATION OF TERMS. 
1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 
2nd Position: The arms are raised sideways a little below shoulder level. 
3rd Position: The K arm makes a half'circle over &■ in front of the head €r the L is in 2nd pos. 
Reverse for "L arm in 3rd pos," 

3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position; The K arm makes a half-circle over &- in front of the head and the L is in 2nd pos. 
Reverse as above. 

5th Position: Both arms make a circle over and in front of the head. 
Lateral Positions have one arm in 2nd pos., and the other in 1st. 
Step Swing means swing the free ft forward &- at the same time hop on the other. 
Step oi Slide Hop is hop on one ft &- lift the other backward. 
Slide Step Step Hop demands that the free ft be lifted backward. 
Slide Step Step Swing demands that the free ft be lifted for'd. 



M^M Af 11^ The following list of dances comoosed o.: 
^ ^^M/^m fc arranged, copyrighted, published and for 

sale only by Louis H. Ghalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2 — Of a little difficully, 

3— Rather diFficult. 

4_Difficult. 

d— Duet dance. 

g — Group dance. 

S— Solo dance. 



e2. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s c 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2, 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilefia. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3, 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4. 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2. 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12or8cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-o£-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. ' For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 

BALLET. 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 

The Sun, or Earth's Awakening. Pan- 
tomime ballet. $10. 

In Cleopatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note; — The numerals used with the 
Folk and Contra dances denote much 
easier grades than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish 
First of May. Sw. 50c. 
Mountain Trio Dance. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Tanie£. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 
Khorovod (The Crane). Russian. 1 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



w. folk 

Norwe 



CONTRA. 

Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1. 
Speed the Plow. 2. 
Three-Hand 

Ring. 2. 
The Tempest 

(La Tempete). 1. 
Terrace. 2. 



s 3. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 

Pompeian Flower Girls. Old Roman g 

Greek Maidens Playing Ball. Simj 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpret! 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental^ Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Larkl(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D fiat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvoi^ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3. 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, s 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi^rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2, 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. .2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. . Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 

Allegretto, s or g 2. $2. 

The Blue Bird, s or g 4. $3. 

Bluette Polka, s or g 3. $3. 

Esthetic Waltz, s or g 2. $2. 

Eugenie Onyegin. Waltz s or g 3. $3. 

The Fairy Queen, s or g 2. $3. 

Fireflies, s or g 2. $2. 

The Golden Butterfly, s or g 4. $3. 

Little Fairy Snowflake. s. or g. 1. $2. 

Midsummer Night's Dream: IJance of 

the Fairies. 12 or 24 giris. 1. $3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2, $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3. $3. 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet Waltz. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents up. 

OTHER WORKS 

For sale only by the School 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Techiuque, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



THE CI 

IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the b<;hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Riissia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated i»s separate branches, but almost all 
the beauty of the original, and quit? all of its spirit and scope have 
been retained. The result is an art wtiich while allov/ins; an amateur 
to make rapid progress is yet authentic, beautiful, utterly c^ptivatine 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 



A Few '^Vords 
Concerning It 



2nd: L. H. CHALIF 



The second factor in the immense success of this School has 
been the e-perience and teaching ability of its principal. From g 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the iloor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4tfi: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a deman** for 
tlr« real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
c'rssses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 



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L U J C K 

RUSSIAN FOLK 0()NCE 

f)rranged by LOUIS H. CHALIF 

Price $1. Other Folk Dances, at the same price, arranged 
by Mr. Chalif are listed below. They can be procured only from 

THE CHALIF NORMAL 
SCHOOL OF DANCING 

7 WEST 42N0 STREET. NEW YORK 



Zorongo. Spanish. 3. 
Manchegas. Spanish. 3. 
Fricassee. Old French Soldier Polka. 
Bourree. Old French. 2. 
Tourdion. Old French. 2. 
Forlane. Old French. 2. 
Farandole. Provencal. 1. 
Le Tambourin. Old French. 2. 
Nonnan Folk Dance. Old. 2. 
Old Welsh Dance. 2. 
Highland Schottiiche. 2. 
Irifh Lilt. 2. 

Wooden Shoes. Dutch. 2. 
WindmiU. Dutch. 3. 
Bavarian Folk Dance. 1. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Mountain Trio Dance. Norwegian. '. 
Thanksgiving or Festival Dance. 2. 
Long Dance. Swedish. 1. 



FIrit of May. Swedish. 50c. With folk song. 
Ring Dance. Swedish. 1. 
Cracovienne. Polish. 2. 
Goraliki Tanief. Polish. 1. 
Khorovod (The Crane). Russian. 1. 
Snow Storm (Miatelitra). Russian. I. 
Rusiian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Troika. Russian. 2. 
Lujock. Russian. 1. 
Kolomeika. Russian. 2. 
Straiik. Bohemian, i. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Ctehbogir. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
The WheeL Athletic, for men or boys. 2 
Scalp Dance. Amer. Indian. \. 
Snake Dance. Amer. Indian. 1. 



SEE BACK COUER FOR EXPLANATION OF ABBREUIATIONS 
AND LIST OF DANCES BY THE SAME AUTHOR 
Copyright. 1915. by Louis H. Chalif 



LUJOCH 



OLD RUSSIAN FOLK SONS. 



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LUJOCK 

Very Simple Russian Folk Dance 

arr. by 

LOUIS H. CHALIF 

The initial formation is a single circle, all facing R, each girl in front of partner 
The "Russian step" used in this dance is: Step forward on heel of Rf (ct 1,) 
bring- Lf up to Rf (ct and,) step forward on Rf on the toe firet this time (ct 2,) and 
pause (ct and.) Bend at the waist sideways toward the ft which begins the step. 

I. 

7 Russian steps forward around the circle, all beginning Rf. Each boy keeps his 
L hand on hip all the time and swings his R arm sideways at shoulder level (2nd pos.) 
on the 1st Russian step, well forward in h-ont of the chest (Ist pos.) on the 2n(i and so 
on. The girl keeps both hands on hip. She turns her head to R to look back at the 
boy when starting a Russian step with her Rf and to L when starting Lf. . 7 meas 

3 stamping steps in place, the girl turning half-way around to L to face partner. 

The arms are 3rd pos. amplified with R arm up (see diag .) 1 meas 

Each place R arm around the other's waist and carry the other arm in 2nd pos. 

Dance around each other i. e. turn partner with 7 Russian steps, starting Rf, & finish 

with 3 stamps as before 8 meas 

16 meas 
II. 

All face center of circle. The girl's part is as follows: step Rf to side (ct I ,)& 
brush the floor with L heel across in front of Rf (ct 2 .)Clap the hands in 1st pos. on the 
2nd ct . I meas 

3 Russian steps forward toward center of circle, starting Lf. 
The L hand is on hip, A the R arm is swung slowly to 2nd pos. during the Ist 2 Russian 
steps, and back to Ist pos on the 3rd. On this Russian step also turn to L again to face 
out of the circle 3 meas 

Repeat the above 4 meas, making the circle large again 4 meas 

While the girl is executing the last 8 meas the boy does exactly the same steps, 
but does them turning in place once around to R in the Ist 4 meas and once around 
again in the 2nd 4. Turn partner with 7 Russian steps, and finish with 3 stamps as 

in Fig. I 8 meas 

16 meas 

Repeat from the beginning as many times as desirable. 



CD 



A 



I pos. II pos. 



D'ANCES BY LOUIS H. CeALlK 



1 he following lisit of dances composed o,' 

arranged, copyrighted, published and for 

sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



2 — Of a little difficidty. 
3— Rather difficult 
4— Difficult, 
d — Duet dance. 
g — Group dance. 
S— Solo dance. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or g- 2. 
Saltarella. Sicilian d or g 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. Austrian Peasant d or g 2. 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2. 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Ole Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloma. Mexican s or g 4, 
Sarabande. Old French d. or g. 2. 
Pavane. Old French d or g 2, 
Allemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte. French s or g 2. 
Gayotte Directoire. Pavlowa's d. 2. $1. 
Minuet de la Cour. For 4 couples. $5. 2. 
Queen of Swords. Minuet, 12 or 8 cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, 50c. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2, 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
♦^sardas. s or g 3. 
The Magyar. Csardas s or g 3. 
"nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
Saibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

$3 Each. 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

A Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Fete de Jardinier. Pantomime and 

six dances. $10. 
Christmas Festival Series of Dances. 

Suitable for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pan- 

-omime ballet. $10. 
In Cleopatra's Court. Panto ballet. $10. 



FOLK. $1 Each, 
Note: — The numerals used with tl 
Folk and Contra dances denote mu< 
easier grades than in otiier categoric 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. .Athletic; men or boys. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 
Long Dance. Swedish. 
Ring Dance. Swedish. 
First of May. Sw. 50c. ■ 
Mountain Trio Dance. 
May Dance. German. 
Westphalian Peasant Dance. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Tanie£. Polish. 1, 
Russian Wave Dance. 1, 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). 
Khorovod (The Crane). Russian. 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Straiak. Bohemian. 3. 
Babor4k. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbog4r. Hungarian, 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



1, 
1. 

w. folk song. 
Norwegian. 



Russ 



CONTRA 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1 
Speed the Plow. 2. 
Three- Hand 

Ring. 2. 
The Tempest 

(LaTempete). 1. 
Terrace. 2. 



ve s 3. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg, women. 2 

Pompeian Flower Girls. Old Roman g 2 

Greek Maidens Playing Ball. Simph 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpret! 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. 3 or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. i 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoraske (Dvoi^ak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 
The Gipsy Camp. Span. tamb. s or g 3, 
The Andalusian Gipsy. Spanish s or g 3. 
The Beauty of the Alps. Tyrol, s or g 2. 
Jean et Jeannette. French d 2. 
The Joy of the Rose. Pierrot pant, a 2. 
Columbine. French s or g 3. 
The Village Belle. French s or g 2. 
Sailor's Hornpipe, s or g 1. 
The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi?rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
EugSnie Onyegin. Waltz i or r 3 1 
The Fairy Queen, s or g 2. $1 
i'ireflies. s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowflake. s. or g. 1. |' 
Midsummer Night's Dream; Danct 
the Fairies. 12 or 24 girls. 1. J3. 
Mignonnette. s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $! 
Petite Coquette, s or g 1. $2. ! 

Pizzicato, s (or g) fr. "Sylvia." 2. $2,' 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2, 
Three Fair Maids, s or g 3. $3. 
Valse Brillante. s or g 3, $3. 

BALLROOM. 
Music and Description, $1. 
Furlana. 2. I Minuet WalU. t 

La Russe. I Sylvia Walti. 2. 

The Countess. 2. | Gavotte Walti. ; 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballrooi 
Dances, old and new, in their moi 
beautiful, modest, teachable and 8tan( 
ard form, are published bv thtt schoo 
at $.50 and up. 

MUSIC for the newest ballroot 
dances, in the pieces most approved b 
us and the public, is carried in stock i 
prices from 25 cents ud. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCWI 

Vol. I. The standard positions and lii» 
fundamental exercises. These are df 
scribed to the minutest detail, so thi 
the book is useful alike to the stud«i 
who has no teacher, or the best teicli 
ers. 171 pp., ill., price postpai.d, $2,5( 
Music for thtt Classical Exercises fo 
Technique, as described in the Tax 
Book, and including all used in th 
Chalif School. Third edition: a n«i 
collection of 47 beautiful pieces, unus«' 
hitherto; engraved. Postpaid, $3.05. 
Grammar of the Art of Dancing, i; 
Friedrich A. Zorn. An important worl 
to the profession. "With musical sup 
plenicnt, express paid, $10. q 



THE CfiAUF NORMAL SCHOOL OF DANCING 



iT IS located in New York City, at 7 West 42nd Street, and leaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and pubhc 
school teachers, and teachers of physical trainine. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the school which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

ims is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quu." all of its spirit and scope have 
been retained. The result is an art wtiich wh'l<^ allT»n.io- an amateur 
to make rapid progre'^s is yet authentic, b^^ut'ful. utterlv c-Dti-'atin<^ 
to the student, and furthermore bringing health, kno -led-e of racial 
character, alertness, graci., dnd -■ soul-deep develot)rpent estheticallv 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, bi't by it with the most outstanding success, 
especially in three particulars. First, the use of the Anns and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, po that although Chalif dancing 
is in no sense stilted, yet all of it is siti table for offering to all of the 
American public. 

When taugh<- to teachers it includes more than this, for an exi-e!- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is 3 completely equipped teacher of Chalif an 1 
Ballroom dancing, an exh-bition dancer and a comnoser of chances. 



A Few 'Word* 
Concerning' It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, hit 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use o-f assistants, since it has baen 
found that the students will listen to no one else while the principal 
is on the floor. 

3rJ; LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4trt: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame o: the Chalif School. Everywhere there is a demanf* *«r 
tl—r real dancing, and here one can be trained to teach it. 

c o u :; s E s 

Each year during June and July there is a normal school with 
c--3aes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets, Toe-dancing, etc. And similar sessioH* 
are held during a fortnight of the Christmas holidays and on Satur- 
days and i.orp.e week-day afternoons throughout the winter. Cstalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 




Csardas 



BY 



LOUIS H. CHALIF 



Price $3.00 For sale only by 




f(CIHI^^IL.niP ]NIO]RIM.^lLaJ^ 



^o 7 Wosi 4S^'qa^-tree.t-J>JE v^l^ rk.^ 



The following, by the same author, are other National Dances, selected from a very wide repertory as being the 
world's best. The price of each is $3.00 They consist of appropriate music and a complete description of the Dance, 
are copyrighted, and can be procured only from the School. 



Saltarella. Sicilian (1. or g. 2. 

Siciliano. Sicilian s. or g. 2. 

Tarantella. Neapolitan s. or g. 2. 

Bolero. Spanish s. or g. 4. 

Madrileiia. Spanish s. 3. 

Cachuca. Spanish s. or g. 3. 

La Feria. Spanish s. or g. 3. 

Ole Gaditano. Andalusian s. 3. 

La Gitana. Music only. Andalusian s. 3. 50c. 

La Paloma. Mexican s. or g. 4. 

Pavane. Old French d. or g. 2. 

Chaconne. Old French d. or g. 2. 

Gavotte. French s. or g. 2. 

Minuet de la Cour. For 4 couples. $5. 2. 

Queen of Swords. Minuet for 12 or 8 couples. 2. 



Tyrolienne. Austrian Peasant d. or g. 2. 

Polska. Swedish d. or g. 2. 

Polonaise. Music only. 50c. g. 1. 

Krakowiak. By Glinka; d. or g. 2. 

Maid-of-Honor. Mazurka s. 4. 

Russian Quadrille. For 8 couples. 2. 

The Bride's Dance. Russian pantomime and s. 2. 

Kasatchok. Russian peasant d. or g. 3. 

Donskoi Cossack Dance, s. or g. 3. 

Csardas. d. or g. 3, 

Csardas. s. or g. 3. 

The Magyar. Csardas s. or g. 3. 

Hungarian Rhapsody, do, Mus. only. 50c. s. 4. 

Saibara. Japanese s. or. g. 1. 



SEE BACK COVER FOR EXPLANATION OF ABBREVIATIONS AND LIST OF OTHER DANCES 
PUBLISHED BY THE SCHOOL 



Copyright, 191^by Louis H. Chalif 



The Magyar 



arr. by LOUIS H. CHALIP. 








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The Magyar. 6 



5 

The Magyar 

Hungarian Solo Dance 

BY 
LOUIS H. CHALIF. 

Magyar is pronounced Mah-jar, with accent on 1st syllable. 
I. 

This figure is danced in a zig-zag moving forward. 

Step R ft to side (count 1) step L ft behind R ft, bending L knee & cut- 
ting R ft out forward ( ct 2.) & repeat sanie( cts 3,4.) R hand is onhip, 
L hand overhead. 1 meas. 

Hop on both feet crossing R ft behind (ct1), jump to 2^A pos. (ct 2), close the 
feet in ist pos.(ct 3) & rest (ct 4). Arms crossed in first pos. (ct1 ), 
open to 2nd pos. (ct 2), 3rd pos. with R hand up (ct 3) 1 , » 

Lift L ft ( preparation). & turn to R side once or twice around with hop step 

&step ( pos boiteux). Arms as at end of previous meas 1 " 

Cross, open & close the feet as before, finishing with L hand up .... 1 " 

Repeat all starting L,R & L 12 " 

16 " 

11. 

In this figure move backward in a zig zag. 

Step R ft to side (ct 1 ), draw L ft up to R ft & swing L ft forward ( ct 2 ), 
point L toe in front of R toe (ct 3 ) & SAving L ft forward ( ct 4 ). R 
hand is overhead, L hand on hip 1 " 

Move diag. back to L side. Step L ft to side ( ct 1), step R ft behind L ft bend- 
ing R knee (ct 2) , & repeat same ( cts 3, 4). L hand is at back of head, 

R hand on hip 1 " 

Repeat all starting L, R & L • • _£ " 

8 " 



The Magyar 6 



III. 



Step R ft to side (ct 1 ), step L ft across in front of R ft ( ct 2 ), step R ft to side 
again with a long step, turning to face R, bend R knee until L kn'ee 
almost touches the floor (ct 3), & hold (ct4). X hand is overhead, R 
hand on hip ( cts 1,2 ) & R hand is at back of head, L hand on hip 
(cts 3,4) 1 meas. 

Rise and cross, open & close the feet as before 1 " 

Repeat all to. L,R& L 6 " 



TV. 

Touch R toe in front of L toe & swing R ft forward (ciseaux) hopping twice 
on L f t (cts 1,2 ), & 3 little steps toward L side starting step R ft be - 
hind L ft ( pas de Bourree change) (cts 3,4). Arms 1st to 2^A pos. . . 1 

2 hohibiec to L side diag. forward. ( Hoi'ubiec is strike heels together & slide 

L ft to side (ct 1) , & bring R ft up to L ft ( ct 2 ). Arms S^d pos. ... 1 

Point L ft in 21^ reverse pos.& swing L ft forward (cts 1,2). R hand is over- 
head, L hand on hip. Repeat same R ft (cts 3,4) 1 

Cross, open & close the feet 1 

Repeat all to R starting point L toe in front of R f t 4 

Repeat to L & R side 8 

16 

On the last meas. take 3 steps forward(L, R & L) & hold with L hand on hip 
& R hand overhead. 
Pause for about 4 counts (no music). 



Friska 

( The quick second part of an Hungarian Dance. Pronunciation Freeshka 



Move in a line diag. forward Rwith the following step: Step R ft diag. for- 
ward (ctl ), step L ft in front of R ft(ct 2 ) '. . 1 mc 

Repeat same 3 times more 3 ' 

These steps should be something like stamps,with a stronger accent on 
ct 1. The L hand is on hip & R hand is extended forward with palm up 
somewhat forcibly 4 times, each time on the 1^1^ ct. 

Coupe glisse coupe twice (R&D starting cross R ft over L ft. Arms swing 

naturally at the side . 2 ' 

Coupe glisse coupe is step R ft across in front of L ft, cutting L ft out 
backward, slide L ft backward & cut L ft out again backward (cts 1 &2). 

Coupe glisse (ct 1 &) 4 times moving backward. Start cross R ft over L ft. L 

hand is at back of head, R hand on hip. 2 ' 

Repeat all starting L,R&L. ^ '' 

32 '■ 



11. 

Point R heel to side & bend R ft across in front of L just below the knee, hop- 
ping twice on L ft(cts 1,2). L hand overhead, R hand on hip 1 

3 light stamps in place ( R,L & R) -- 1 

Repeat all starting L ft 2 

S tortillers moving backward. Start R ft. Arms folded in front of chest. . . 4 

Tortiller is Lift R ft behind with knee raised to side (preparation),hop 
on L & immediately step R ft behind. There is only 1 ct for these 2 movements. 

Alternate R & L feet 

Repeat the last 4 meas. of this figure 4 

On the last 4 meas. take 2 steps only (L & R), & raise L ft forward to be ready 

to turn to R side. 

Turn to R side twice or 3 times around with pas boiteux as in Fig. I. L 

hand is overhead, R hand on hip 3 

2 steps forward(L & R). Finish with L hand overhead & R hand on hip. ^ 

16 



as. 



The Maf!;yar 6 



DANCES BY LOUIS H. CHALIF. 



The following list of dances composed or 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



ABBREVIATIONS 

1 — Easy. 

2 — Of a little diiSculty 

3— Rather difficult 

4 — Difficult. 

d — Duet dance. 

g — Group dance. 

s — Solo dance. 



NATIONAL. $3 Each. 
Saltat-ella. Sicilian d. or. g. 2. 
Siciliano. Sicilian s. or g. 2. . 

Tarantella. Neapolitan s. or g. 2. 
Bolero. Spanish s. or g. 4. 
Madrilena. Spanish s. 3. 
Cachuca. Spanish s. or g. 3. 
La Feria. Spanish s. or g. 3. 
Ole Gaditano. Andalusian s. 3. 
La Gitana. Music only. Andalusian s. 3. 50c. 
La Paloma. Mexican s. or g. 4. 
Pavane. Old French d or g. 2. 
Chaconne. Old French d. or g. 2. 
Gavotte. French s. or g. 2. 
Minuet de la Cour. For 4 couples $5. 2. 
Queen of Swords. Minuet for 12 or 8 couples. 2. 
Tyrolienne. Austrian Peasant d. or g. 2. 
Polska. Swedish d. or g. 2. 
Polonaise. Music only. 50c. g. 1. 
Krakowiak. By Glinka; d. or g. 2. 
Maid-of-Honor. Mazurka s. 4. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russian pantomime and s. 2. 
Kasatchok. Russian peasant d. or g. 3. 
Donskoi Cossack Dance, s. or g. 3. 
CsSrdas. d. or g. 3. 
Csardas. s. or g. 3. 
The Magyar. Csardas s. or g. 3. 
Hungarian Rhapsody, do. Mus. only. SOc. s. 4. 
Saibara. Japanese s. or. g. 1. 

GREEK AND INTERPRETIVE. $3 Each. 
Wind and Wave. Greek s. 3. 
Cymbal Dance. Greek s. or g. 3. 
Forest Spirits. Greek For .12 young women. 2. 
Greek Maidens Playing Ball. Very effective. 2. $2. 
Spirit of Spring. Greek Interpretive s. 3. 
Autumn. Greek Interpretive s. 3. 
Humoresque. Description only. s. $3. 
The Moon Dance. Orie.tal Interpretive s. or g. 2. 
BALLROOM. 
Music and Description, $1. 
The Countess. 2. I Sylvia Waltz. 2. 

Minuet Waltz. 2. I Gavotte Waltz. 2. 

Mazur Waltz. 2. 

Description only, SOc. 



Aeroplane Glide. 2. 
Dream Waltz. 3. 
Hesitation Waltz, the 

original. 3. 
Manhattan Glide. 2. 
Maxixe. Brazilian. 2. 
Mignon Waltz. 2. 
Narragansett Glide. 2. 
Northamton Glide. 2. 



One-Step. 1. 

La Petite Waltz. 2. 

Tango. The Parisian 
form of the Argen- 
tine Tango. 12 pp. $3. 

Twinkle Waltz. 2. 

Waltz, The. 

West Point Glide. 1. 



CHARACTERISTIC BALLET. $3 Each. 
Light and Darkness. Greek duet with pantomime. 3. 
The Shepherd and the Angel. Pant, ballet, d. 2. 
A Russian Wedding. Ballet for 8, 12 or 16 couples, 

in 3 parts. 2. 
Her Warrior. Indian duet pantomime & dance, 

in 3 parts. 2. 

BALLET 
La Fete de Jardinier. Pantomime & 6 dances. $10. 
Christmas Festival Series of Dances. Suitable 

for a Kirmess. $5. 
The Sun, or Earth's Awakening. Pant, ballet. $10. 

FOLK. $1 Each. 



umerals used with these dances 
asier grades than in the other 



Note: — The 
denote much 
categories. 
Manchcgas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provemjal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 3. 
Le Tambourin. Old French. 2. 
Fricassee. Old French Soldier Polka. 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic, for men or boys. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. " 

Swedish 

Swedish. 

Swedish 

German. 
Westphalian Peasant Dance. 
Cracovienne. Polish. 2. 
Goralsky Taniec. Polish. 1. 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Miatelitza). Russian. 
Khorovod (The Crane). Russia". 1 
Lujock. Russian. 1. 
Kolomeika. Russian 2. 
Stras^k. Bohemian. 3. 
Baborak, Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance. 1. 
Snake Dance. Amer. Indian. 1 
Scalp Dance. Amer. Indian. 1. 



Long Dance. 
Ring Dance. 
First of May. 
May Dance. 



1. 
1. 

50c. 
1. 



With folk song. 1. 



ESTHETIC. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz. Music only. s. or g. SOc. 

Eugenie Onyegin. Waltz s. or g. 3. $3. 

The Fairy Queen, s or g. 2. $3 

Fireflies, s. or g. 2. $2. 

The Golden ButterHy. s. or g. 4. $3. , 

Mignonnette. s. or g. 1. $2. 

The Nightingale, s. or g. 2. $2. 

Pizzicato, s (or g.) from ballet Sylvia. 2. $2. 

Polka Miniature, s. or g. 2. $3. 

Poppies, s. or g. 1. $2. 

Three Fair Maids, s. or g. 3. $3. 

Valse Brillante. s. or g. 3. $3. 

Midsummer Night's Dream: The Dance of the 

Fairies. 12 or 24 girls. 1. $3. 
Papillons d' Amour. Music only. Waltz time g. 3. SOc. 



DEMI-CHARACTER. 



Each. 



The Beauty of the Alps. Tyrolean Waltz s. or g. 2. 

The Andalusian Gipsy. Spanish s. or g. 3. 

The Gipsy Camp. Spa-^ish tambourine s. or g. 3. 

Le Toreador d'Andalousie. s or g. 4. 

Jean et Jeannette. French d 2. 

The Village Belle. French s. or g. 2. 

Columbine. French s. or g. 3 

Sailor's Hornpipe, s. or g. 1. 

The Polish Princess. Polish s or g. 3. 

Marysia. Polish s. or g. 3. 

The Mazovian Maid. Polish s. or g. 3. 

White Rose Mazurka. Polish s. or g. 3. 

Russian Court Dance, d. 2. 

Vegierka. Hungarian Military d. 2. ■ * 

Japanese Group Dance. For 8 or 16. $2. I. 

Bow and Arrow Dance. Male s. or g. 3. 

L'Aufomne (Bacchanal), d. 3. 

CONTRA. SOc. Each. 



Arkansas Traveler. 2 
Beaux of Oak Hill. 2 
Flowers of Edinburgh. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. 2. 
I Money Musk. 2. 
Off She Goes. 3. 



Petronella. 2. 
Pop Goes the Weasel. 
Portland Fancy. 1. 
Soldier's Joy. 2 
Speed the Plow. 3. 
The Tempest (la Tem- 

pete). 1. 
Three Hand Ring. 3. 
Windsor Terrace. 3 



EXERCISES. 
The Classical Exercises for Technique. 

An entirely new and much enlarged collection of 
43 beautiful pieces of music, with the names and 
brief descriptions of the corresponding Junior and 
Senior exercises. Price, $3.00. 



THE CHALIF NORMAL SCHOOL OF DANCING 



A. Fewr 'NVords 
Oonccming It 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and pubhc 
school teachers, and teachers of physical training. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the ithool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated as separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowing an amateur 
to make rapid progre'=s is yet authentic, beautiful, utterly captivating; 
to the student, and furthermore bringing health, knowledge of racial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it with the most outstanding success, 
especially in three particulars. First, the use of the Arms and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 



2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instruc'.or of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trciined to teach it. 

COURSES 
Each year during June and July there is a normal school with 
classes all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 



DRUZCHKA 

n S^<fizi i 7-k.ci Sa/o arranffdd 

by 

LODIS H.CHALIF 

^d ffor/d 'j iesi . ^c7ch rrtim^ar ronci'jfs of c7/cprc-'yyrtc?7e tvihstc^ £(to ca/i 3<f 
y?roc7ire<^ OTi/y yhcfr? 

9fee Gkaiif 91oxmat School oj Shincinq 

7. West 42nd SiyXm^ork 



FURLANA 

TARANTELLA 

54LTARELLA 

TYROLIENNE 

MADRILENA 

ALE OADITANO 

LA GITANA 

CACHUCA 

RUSSIAN QUADRILLE 

QUEEN OF 51V0RPS 

LA FFRIA 

LA PALO MA 

CHACONNE 

PAVANNE 

MINUET DELA COUR, 

KASATCHAK 

MAID -OF- HONOR DANCE or 

KRAKOVIAK 

POLQNAI^SE 

C5ARDAS 

THE bride's DANCE 

5lCILIAN^ 

P0L5KA 

BOLERO 

GAVOTTE 

D0N5KOI 



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Spam'sh ^zzcf 
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SpciTTi'sh sah 
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SJ0c?n7'jh i'0/0 
9}?eyzcci/7 oO/l' 

Old §re7ich ^iict 
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'DRUZCHKA " ■tniaxurkcx so;^ 

Jafi'sA JcTnhrnirnc Jroiip danc<i ^ from Tfic fhrTzans ia/M 
t'n f-fya opera: Zchizn -ZA- Czaria by ffhiikoy ■ 

'Hiiii^eii'i'an ^(lasani rOcincc . Sola or ■^^Z'^i Ecdifcoji- 

Solo _ /?ziss?an fjcin-toTT^Trne dind ^^itci. . 

Si'ciliai'L So /a 

SMcdi'sh ^7tis7 

•fpcinish Solo 

Srench Solo 

Cossack Sola 

Bi( tl26 Same ^iitho-r . 
Clasyi'ca/ and /Fsf/7c77c -^unct^r and (?A<?rac/sr!'shc JdaZlch . 
A'hnce-Tj Ca/zlra -Dazicej- a/id iScill /3:ian7-<^nc<3X prociiraUc oti/'/ -p-ozn Hza Schao7 . 



THE MAID OF HONOR DANCE 



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LA MANCHA 

SPANISH SOLO OR GROUP DANCE 

By LOUIS H. CHALIF 

other National dances arranged ''0]f Mr. Chalif are listed below. Their price is 
Three dollars < $3.00 ' each, and they can be procured only from 



The C 



OL Of DANCING 



1 WEST 42ND S 



E E T . 



Furlana. Venetian gondolier s or g. 2. 

Saltarella. Sicilian d. or g 2 

Siciliano. Sicilian s. or g. 2. 

Tarantella. Neapolitan s. or g. 2 

La Mancha. Spanish s. or g. 2, 

Bolero. Spanish s. or g. 4 

Madrilena. Spanish s. 3. 

La Paloma. Mexican s. or g 4 

Cachuca. Spanish s. or g. 3. 

La Feria. Spanish s. or g. 3. 

Ole Gaditano. Andalusian s- 3. 

La Gitana. Music only. Andalusian s. 3 

Pavane. Old French d. or g. 2. 

Allemande. Old French g. 2. 

Chaconne. Old French d. or g 2. 

Gavotte. French s. or g. 2. 

Gavotte Directoire. Pavlowa's d 2 SI 

Sarabande. Old French d. or g 2. 

Minuet de la Cour. For 4 couples. $5. 2. 



Queen of Swords. Minuet tor 12 or 8 couples. 2. 

Tyrolienne. Austrian Peasant d. or g 2. 

Ca la Breaza. Rumanian s or t; 3 

Sword Dance. Scotch s 3 

Highland Fling. Scotch s 1 

Polska. S^vedish d. or g. 2 

Polonaise. Music only. 50c g 1 

Krakowiak. By Glinka, d. or g 2 

Maid-of-Honor. Mazurka s. 4 

Russian Quadrille. For 8 couples 2 

The Bride's Dance. Russian pantomime and 5 2 

Kasatchok. Russian peasant d or g 3. 

Plyasovaia. Russian s w. pantomime 2 

Donskoi Cossack Dance, s. or g 3 

Csardas. d. or g 3. 

Csardas. s. or g 3. 

The Magyar. Csardas s or g 3. 

Second Hungarian Rhapsody. Csardas ■, 4 

Saibara. Japanese s or g. I 



SEE BACK COUER FOR EXPLANATION OF ABBREUIATIONS 
AND LIST OF OTHER DANCES BY THE SAME AUTHOR 



C opyright. 191^. b 



L u i 



H 



Chalif 



ha Maneha. 



Tempo di Valse, j jj yj 



Am by Louis H. Chalif. 



Piano, 




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La Mani-.h'a 2 



A VERY SiMPLE SPANISH DANCE. 

For solo or group, 

by 

LOUIS H. CHALIF 

Q The title is the old name of a district of central Spain, and is pronounced lah mahn-cha. Q Tech- 
nical terms are explained at the end of the description. 

Before starting to dance stand on Lf facing L &- point Rf forward, the R hand on hip and the L 
in 5th position. 

m I m ■ 

Balance to R side starting Rf (lils I, 2, 3), and to L side starting Lf (dts 4, 5, 6). The arms swing 
to 3rd pos. with R arm up on d i, 2, 3 and back to 1st pos. on ds 4, 5, 6 2 meas. 

Step draw with Kf to R side. The L hand is with Rf on hip and the R arm is 5th pos I meas. 

Step Rf to side £r swing Lf across in front of Rf at the same time hopping on Rf. The arms are as 
above i meas. 

Repeat all starting to L &- to R 8 meas. 

Repeat the balance to L 6- R 2 meas. 

Tour jete to the L side. The arms are 2nd pos. on ds I, 2, 5th pos. on d 3, &- L hand in 5th pos. 
&- R hand on hip on ds 4, 5. 6 

m II. m 

Moving diag. forward to R, step Rf forward, swing Lf forward hopping on Rf (ds I. 2, 3), step 
Lf forward &- hop raising Rf behind ^ds 4, 5. 6. ) The R arm is in 5th pos. &- L hand on hip. The 
trunk &- head are thrown somewhat back 2 meas. 

Step draw twice starting Rf &- moving diag. backward to R. Do not complete the 2nd step draw 
but finish with the weight on Rf. The arms are the same as for the 2 previous meas., &- the trunk 
bends to L so that one can look at the toe 2 meas. 



Repeat all starting Lf diag. forward to L 4 meas. 

Repeat starting Rf diag. forward to R 4 meas. 

Repeat the 1st 2 meas. diag. forward L starting Lf 2 meas. 

Tour jete backward to L as m the previous Fig 2 meas. 

16 meas. 

Step Rf forward &- swing Lf forward hopping on Rf (ds 1, 2, 3). step Lf forward (d 4), &- point 
R toe behind L heel twice (& 5, 6). The R arm is overhead &- L hand on hip, &• the trunk &- 
head are bent back a little 2 meas. 

Step Rf back (ds I, 2\ bend Lf in froni of R ankle (d 3), point Lf forward in 4th pos, (d 4\ &- 
hold (ds 5, 6). The arms are as before &- the ti'unk &- head are bent to the L &- forward, so that 
one can look at the L toe 2 meais. 

Repeat all starting L &- R , 8 meas. 

Repeat the 1st 2 meas. starting Lf. ..; 2 meas. 

Tour jete backward to L 2 meas. 



16 meas. 

11 !y. m 



In this Fig. move backward. 



Turn to face Rf, starting Rf, do 3 complete step draws moving sideways to R &■ progressing toward 
back of stage (3 meas.), then step Rf forward in front of Lf with a light stamp, &- rest (I meas. I 
The R hand is in 5th pos. &■ L hand on hip. The trunk is bent to L for the 1st 3 meas. &- the pos. 
is reversed for the 4th 4 meas. 

Repeat all starting Lf ir turning to face L 4 meas. 

Repeat all. starting Rf &- facing K 4 meas 



THE FIVE POSITIONS 

1st Position: The arms make a circle in front of the chest at the level of the middle of the chest. 

2nd Position: The arms are raised sideways a little below shoulder level. 

3rd Position: The K arm makes a half'circle over &- in front of the head &- the L is in 2nd pos. 

Reverse for "L arm in 3rd pos." 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position: The K arm makes a half'Circle over &- in front of the head and the L is in 2nd pos. 

Reverse as above. 
5th Position: Both arms make a circle over and in front of the head. 

Balance is step Rf to the side ' d 1) bring Lf up to Rf &■ rise on the toes fd 2) &- lower the heels 
(^3). 

Tour Jete to L side is thus: a 3 step turn, siep Lf to side (ds I, 2), leap onto Rf turning to L Cd 3), 
step Lf to side completing the turn (d 4), &- rest (ds 5, 6). 

Step Draw (to R side) is step Rf lo side (d 1 ), draw the toe of Lf along the floor toward Rf (d 2), 
step on Lf beside Rf ( d 3 ) . 

Pas de Basque is a Semi'Circle &- leap Rf to the R side (d I), slide Lf forward in front of Rf (d 2), 
&- bring Rf up behind Lf cutting Lf out forward ' d 3 ) . 

Step Swing means swing the free ft forward &■ at the same time hop on the other. 




Repeat step Jrasv iv>'icc srartiiig Lf 2 nieas. 

St^p Lf back (rVs i 'h. step Rf back td 3). step Lf forwa.d (d 4), and hold ds 5, 6) Reverse 

arms a;; be/ore on die last mc^vs 2 meas 

16 meas. 

m u. m 

Step siving *wics (l\ &- L ' moving diag fonvard R The R ?tm is overhead &- the L on hip. 

2 meas. 

Kneel on L knee sxiending Rf forward straight, &- simultaneously begin making a large circle with 
ihe arms £r trunk starting toward L side. The armsaic kept paialicl. Make 2 circles, taking 2 meas 
for each 4 meas. 

Rise slowly on Rf (ds 1. 2, 3; &- siand on Rf with Lf pcinicd backward 6- anns in 2nd pos. (ds 4, 
5, 6) 2 meas. 

Repeat all starting Lf ^ .8 meas 

16 nica';. 

^ Ul. P! 

8 liiile pas de Basque foiward staning Rf. The arms are 4ih pos. on R &- L sides alternately Tliese 
pas de Basque must be made v^ith very short steps, as the music is played rather fa^t 8 meas. 

Step draw backward J complete times starting Rf &- turning tc face R (3 meas. '. &- step Rf back 
again leaving Lf pointed forward < 1 meas. X The R arm is in 5th pos. 6- the L hand on hip 4 meas 

Step swing on Lf forward (ds 1, 2, 3), &■ step hop on Rf raising Lf behind 'ds 4, 5. 6 i The L 
hand is overhead &- R I land on hip 2 meas 

Tour jete backward to L , 2 meas. 

16 meas. 



DANCES BY LOUIS H. CHALIF. 



The fuilowing list of dances composed o.' 
arranged, copyrighted, published and for 
sale only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
and arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



2 — Of a little difficulty. 
3— Rather difficult 
1 — Difficult, 
d— Duet dance, 
g — Group dance, 
s — Solo dance. 



$1. 



NATIONAL. $3 Each. 
Furlana. Venetian gondolier s or i 
Saltarella. Sicilian d or f 2. 
Siciliano. Sicilian s or g 2. 
Tarantella. Neapolitan s or g 2. 
Tyrolienne. .\ustrian Peasant d or 
Bolero. Spanish s or g 4. 
La Mancha. Spanish s or g 2 
Madrilena. Spanish s 3. 
Cachuca. Spanish s or g 3. 
La Feria. Spanish s or g 3. 
Olc Gaditano. Andalusian s 3. 
La Gitana. Andalusian s 3. $1. 
La Paloraa. Mexican s or g 4. 
Sarabande. Old French d. or g. 2 
Pavane. Old French d or g 2. 
AUemande. Old French g 2. 
Chaconne. Old French d or g 2. 
Gavotte, French s or g 2. 
Gavotte Directoire. Pavlowa's d. 2. 
Minuet de la Cour. For 4 couples. $5. 
Queen of Swords. Minuet. 12or8cpls. 2. 
Sword Dance. Scotch s. 3. 
Highland Fling. Scotch s. 3. 
Polska. Swedish d or g 2. 
Polonaise. Music only, SOc. g 1. 
Krakowiak. By Glinka; d or g 2. 
Maid-of-Honor. Mazurka s 4. 
Plyasovaia. Russian s w. pantomime 2. 
Russian Quadrille. For 8 couples. 2. 
The Bride's Dance. Russ. pant, and s 2. 
Kasatchok. Russian peasant d or g 3. 
Donskoi Cossack Dance, s or g 3. 
Csardas. d or g 3. 
Csardas. s or g 3. 
The Magyar. Csardas s or g 3. 
2nd Hungarian Rhapsody. Csardas s 4. 
Ca la Breaza. Rumanian s or g 3. 
ISaibara. Japanese s or g 1. 



CHARACTERISTIC BALLET. 

i! $3 Each, 

Light and Darkness. Gr. d. w. panto. 3. 

The Shepherd and the Angel. Panto- 
mime ballet, d. 2. 

\ Russian Wedding. Ballet for 8, 12 
or 16 couples, in 3 parts. 2. 

Her Warrior. Indian duet pantomime 
and dance, in 3 parts. 2. 



BALLET. 
La Fete de Jardinier. P 

six dances. $10. 
Christmas Festival Seri- 

Suitable for a Kirmess 
The Sun, or Earth's A\ 

tomime ballet $10'. 
[n Cleopatra's Court. Panto ballet. $10. 



es of Dances. 

;. $.S 
akening. Pan- 



FOLK. $1 Each. 
Note: — The numerals used with t 
Folk and Contra dances denote mu 
easier grades than in other categorii 
Manchegas, Spanish. 3. 
Zorongo, Spanish. 3. 
Farandole. Provencal. 1. 
Tourdion. C)ld French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
l''orlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2, 
Norman Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. £agU«h. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2. 
The Wheel. Athletic; men or boys. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. SOc. w. folk song. 
Mountain Trio Dance. Norwegian. 
May Dance. German. 1. 
Westphalian Peasant Dance. 2. 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Taniec. Polish. 1 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm ( Myatelitza). Russian. 
Khorovod (The Crane). Russian. 1 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian, 2, 
Ritka. Hun.iaarian, 3, 
Csehbogar. Hungarian. 1 
Bulgarian Folk Dance. 1 
Snake Dance. Amer, Indian. 1 
Scalp Dance. .\mer. Indian. 1 



CONTRA. 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2, 
The Graces. 2 
Harvest Home. 2 
Hewett's Fancy. 1, 
Hull's Victory, 2 

Windsor 



SOc. Each. 
Money Musk. 2 
Off She Goes. 2 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1 
Soldier's Joy. 1 
Speed the Plow. 2 
Three-Hand 

Ring. 2. 
The Tempest 

iLaTempete) 1 
Terrace. 2 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2 

Pompeian Flower Girls. Old Roman g 2 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s i. 

Summer. Greek Interpretive s 2. 

Autumn. Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark !( Schubert). In.s 3. 

L'Automne (Bacchanal), d 3. 

Bhte Danube Waltz. Interp. s or g 3 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreskc (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each, 
Le Toreador d'Andalousie. s or g 4. 

The Gipsy Camp. Span, tamb, s or g 3, 

The Andalusian Gipsy. Spanish s or g 3, 

The Beauty of the Alps. Tyrol, s or g 2, 

Jean et Jeannette. French d 2. 

The Joy of the Rose. Pierrot pant, s 2, 

Columbine. French s or g 3. 

The Village Belle. French s or g 2. 

Sailor's Hornpipe, s or g 1. 

The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka. Polish s or g 3. 
Stach i Zoska. Polish d with panto. 2, 
Russian Court Dance, d 2. 
Wegi^rka. Hungarian Military d 2. 
The Hussar. Hungarian Char s or g 2 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 characteristic dances, from 

Indian times to the present. 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant, 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3 $.'■ 
The Fairy Queen, s or g 2. $3 
FireHies. s or g 2. $2. 
The Golden Butterfly, s or g 4 $3 
Little Fairy Snowflake. s. or g I $2 
Midsummer Night's Dream: Dance ii 

the Fairies. 12 or 24 girls. 1 S3 
Mignonnette. s or g 1, $2. 
The Nightingale, s or g 2 $2 
Papillons d'Amour. Waltz time g 1 Sj 
Petite Coquette, s or g 1, $2, 
Pizzicato, s (org) fr. "Sylvia," 2 $2 
Polka Miniature, s or g 2 $3 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3 
Valse Brillante. s or g 3 $3 

BALLROOM. 

Music and Description, $1. 

Furlana. 2. I Minuet Waltz. .: 

La Russe. 1 Sylvia Waltz. 2 

The Countess. 2. I Gavotte Waltz. 2 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school. 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents up. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition: a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved, Postpaid. $3.05. 
Grammar of the Art of Dancing, hy 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid. $10. 



THE CHALIF NORMAL SCHOOL OF DANCING ^ ^^^ ^"'"^ 



IT IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
school teachers, and teachers of physical trainine. Its work with 
these classes has met with tremendous success. "Chalif dancing" and 
the s<;hool which radiates it have come into a North American repu- 
tation, now becoming international. This popularity is due, we 
should say, to four factors, which are 

1st: CHALIF DANCING 

This is the classic art taught by the Imperial Ballet School of 
Russia (of which Mr. Chalif is a graduate), adapted and simplified, 
without debasement or weakening, for use in American dancing 
academies and schools. Toe-work, very difficult steps and minute 
stage detail have been treated a? separate branches, but almost all 
the beauty of the original, and quite all of its spirit and scope have 
been retained. The result is an art which while allowi.ig an amateur 
to make rapid progress is yet authentic, bsaut'ful, utterly c^ptivatim? 
to the student, and furthermore bringing health, kno';-led~e of r-cial 
character, alertness, grace, and a soul-deep development esthetically. 

The adaptation of Classic dancing has not been attempted by 
the Chalif School only, but by it "''th the most outstanding success, 
especially in three particulars. First, the use of the Anns and the 
rest of the body has been kept equally important with the use of the 
feet. Second, in National, Demi-character and Folk dancing the 
National Character of each race is really preserved. Third, a thor- 
ough regard is had for the proprieties, so that although Chalif dancing 
is in no sense stilted, yet all of it is suitable for offering to all of the 
American public. 

When taught to teachers it includes more than this, for an excel- 
lent training in Pedagogy is furnished. By the time of graduation 
the ordinary student is a completely equipped teacher of Chalif and 
Ballroom dancing, an exhibition dancer and a composer of dances. 



Concernizi^ It 

2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From 9 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it hais been, 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation center 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
the real dancing, and here one can be trained to teach it. 

COURSES 
Each year during June and July there is a normal school with 
cUsses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satur- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers" shoe and supply house, 
will be sent with pleasure, on application. 






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MARYSIA 

/7 So/tsh XDer^ii - character Ja/oihnct 

LOUIS H.CHAUF 

-%; fbUocjihff are ofAar CAafacfsT an<J -^emi'- (3^arai:/-i.r Skt/TCc'-r ^ ^ m/jic au^Aor: 
izncf can ^c ^jrociired on^y y7~o/T2 

7 West 4-2 nd 6t.92euoyork 



THE BEAUTr OF THE ALP5 
JEAN ..D JEANNETTE 
MARYSIA 
COLUMBINE 
THE POLISH PRINCESS 
WHITE ROSE MAZURKA 
AIAZORIAN MAID 
TAMBOURINE 
THE ANPALUSIAN GIPSY ' 
L'AUTOMNE 

JAPANESE OROUP DANCE 
l^EOEIRKA 

BOW AND ARROW DANCE 
APOLLO 

SAlLOR^S HORNPIPE . 
THE GYPSY CAMP 



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INTERLUDE 

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Copyrights IOISb by Louis K Chalif 




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5. 






THE MAY QUEEN 

SIMPLiFIED CLASSIC SOLO OR GROUP DANCE. BY 

LOUIS H. CHALIF 



OTHER SIMPLIFIED CLASSIC OR "ESTHETIC" DANCES BV THE SAME AUTHOR 
ARE LISTED BELOW. Hi Hi THEY CAN BE PROCURE© ONLY FROM 



THE 



CHALIF 
OL OF 



NORMAL 
DANCING 



7 WEST 42nd STREET. NEW YORK CITY 



Allegretto, s. or g. 2. $2. 

The Blue Bird. s. or g. 4. $3. 

Bluette Polka, s. or g. 3. $3. 

Esthetic Waltz, s. or g. $2. 

Eugenie Onyegin. Waltz s. or g. 3. t$3. 

The Fairy Queen, s. or g. 2. $3. 

Fireflies, s. or g. 2. $2. 

The Golden Butterfly, s. or g. 4. $3. 

Little Fairy Snowflake. s. or g. 1. $2. 

Mignonnette. s or g. 1 $2. 



Midsummer Night's Dream: The Dance oi the 

Fairies. 12 or 24 girls. 1. $3. 
The Nightingale, s. or g. 2. $2. 
Papillons d' Amour. Waltz time g. 3. $3.00. 
Petite Coquette, s. or g. 1. $2. 
Pizzicato, s. (or g.) from ballet Sylvia. 2. $2. 
Polka Miniature, s. or g. 2. $3. 
Poppies, s. or g. 1. $2. 
Three Fair Maids, s. or g. 3. $3. 
Valse Brillante. s. or g. 3. $3. 



See Back Cover For Explanation of Abbreviations and List of Other 
Dances by the Same Author. 



COPYRIGHT 



1915 



BY 



LOUIS 



H. CHALIF 



The May Qaecn. 



I (M. mJ = 



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The May Queen. 8 




The May Queen. ;■! 



The May Queen 

SIMPLIFIED CLASSIC DANCE 

Easy, for Solo or Group by 
LOUIS H. CHALIF 

Q The costume may be a short'\A/aistecl dress with a full skirt. The dance is very simple &- 
easy, without any hopping or leaping, &■ should be executed with a cliildlike :implicity. The 

music IS counted I, 2 to a meas, so counts 3 &• 4 refer to a 2nd meas Before dancing hold 
the skirt with both hands &- point R ft forward. 



Continue to hold the skirt with both hands during this Figure. 

One chasse forward Starting Rf (ds 1 and 2 ) , point Lf diagonally forward, bending at the 
waist to L (5 3). and hold the pos. i<fk 4) This sideward bending should always accompany 

pointing the ft in this dance 2 meas 

(A chasse is: slide on Rf forward (dt 1). close Lf to Rf in 3rd pos. (d: and). &• slide on Rf 
forward again (dX 2; I meas). Bend at the waist slightly to R side when staning Rf &- vice versa). 

Repeat these 2 meas starting Lf 2 meas 

2 chasses backward starting Rf &- Lf and turning slightly toward the same side as the ft 
which begins the chasse 2 meas 

2 slow steps backward f^R &■ L; ds 1, 2) step the Rf back bending the knee to make a 
courtesy (d 3), &- hold (d 4) 2 meas 

Repeat all starting Lf... 8 meas 

16 meas 



May Queen 2 

^ II. i^ 
Point R toe diag forward R ■ dX I'. &- bend Rf in front of L ankle (d 2) Both hands stiil 
hold sk'rt but R arm is bent in front in the lateral pos I meas 

2 chasses diag. forward R starting R &- L ft. "^he hands hold skirt sideways as in Fig. I . , .2 meas 
Steb Rf to R side d li. &- point Lf to L side <fX 2 > bending L arm in front I meas 

Repeat all starting Lf to L sids diag. forward 4 meas 

8 meas 

if III. m 

3 walking steps to R side 'R L &- R: ds I. 2 3'. &- pause 'd 4) The arms are 2nd pos 
(:r the dancer faces diag. forward R 2 meas 

Raise the arms to 5th pos ' ds i. 2', 6- lower them to 2nd pos. again ds 3, 4' 2 meas 

These arm movements should seem to say "How blue the sky is!" 

Repeat all to L. R &- L : , 12 t'ieas 

16 meas 

MIU.E" 

2 chasses diag. foi ward R starting Rf The hands hold skirt 2 meas 

A 3-step turn moving to R side as follows: step Rf to R side (d 1'. step Lf to R side turning 
halfiA/ay around to R d 2K step Rf to R side making another half-turn to R 'd 3', &- paj^e 
on Rf I&- 4 The hands hold skirt, 'ds I. 2. 3) &- are lifted to 5th pos. (d 4- 2 maas 

Repeat all to L, R &- L 12 meas 

16 meas 

m [). m 

I chasse forward starting Rf | meas 

Step Lf forward id I), &- point Rf forward id 2.'. j meas 



May (Jueen 3 
Repeat all v:...:...'..y ; ...7......^ y..., ...2 meas 

The hands hold skirt all the time and R arm bends in front whenever Rf is pointed. 

4 chasses backward starting Rf. Hold skirt with both hands and turn slighty toward the side 
of the foot which begins the chasse. Hands hold skirt 4 meas 

Repeat the 1st 6 meas of this Fig. 6 meas 

Turn to R once or twice around with many little steps in place, arms 5th pos 3 meas 

Courtesy stepping Rf back (2 ds) I meas 

Remain standing on Rf with Lf pointed forward &■ slowly bring the arms through 1st pos. 

to 5th 2 meas 

20 meas 

i 
EXPLANATION OF TERMS 

1st Position : The arms make a circle in front of the chest at the level of the middle of the chest. 

2nd Position : The arms are raised sideways a little below shoulder level. 

3rd Position : The K arm makes a half-circle over &- in front of the head &- the L is in 2nd pos. 

Reverse for " L arm in 3rd pos-" 
3rd Position Amplified is the same, except that the raised arm is less curved. 
4th Position : The K arm makes a half-circle over &■ in front of the head &- the L is in 1st pos. 

Reverse as above. 
5th Position : Both arms make a circle over &- in front of head. 
Lateral Positions have one arm in 2nd pos. &- the other in 1st. 

Step Swing means step on one ft, swing the other ft. forward dr at the same time hop on the 1st ft. 
Step or Slide Hop is to step on one ft &- then hop on it lifting the other ft backward. 
Slide Step Step Hop demands that the free ft be lifted backward. 
Slide Step Step Swing demands that the free ft be lifted forward. 



ANCES BY LOUIS H, CHALIF. 



is ^ lollowing lis* of dances composed o/ 

arranged, copyrighted, published and for 

!e only by Louis H. Chalif, is complete to date. Each number consists of classical music, carefully chosen 
d arranged, and a complete and accurate description of the steps, arm-movements, etc., of the dance. 



1 — Easy. 

2— Of a little diScullf. 

3— Rather difficult, 

i — Difficult, 

d — Duet dance. 

g — Group dance. 

8— Solo dance. 



NATIONAL. $3 Each. 

lana. Venetian gondolier s or g 2. 

arella. Sicilian d or g 2. 
liano. Sicilian s or i? 2. 
antella. Neapolitan s or g 2. 
blienne. Austrian Peasant d or g 2. 
ero. Spanish s or jj 4. 
Mancha. Spanish s or g 2. 
irilena. Spanish s 3. 
huca. Spanish s or g 3. 
Feria. Spanish s or g 3. 

Gaditano. Andalusran s 3. 
Gitana. Andalusian s 3. $1. 
Paloma. Mexican s or g 4. 
abande. Old French d. or g. 2. 
ane. Old French d or g 2. 
:mande. Old French g 2. 
Iconne. Old French d or g 2. 
'Otte. French s or g 2. 
'Otte Directoire. Pavlowa's d.'2. $1. 
luet de la Cour, For 4 couples. $5. 2. 
•en of Swords. Minuet, 12 or 8 cpls. 2. 
ord Dance. Scotch s, 3 
[Hand Fling. Scotch s 3 
ska. Swedish d or g 2. 
onaise. Music only, 50c. g 1. 
ikowiak. By Glinka: d or g 2. 
id-of-Honor. Mazurka s 4. 
asovaia. Russian s w. pantotnimc 2. 
sian Quadrille. For 8 couples. 2. 

Bride's Dance. Russ. pant, and s 2. 

tchok. Russian peasant d or g 3. 

tkoi Cossack Dance, s or g 3 

dSs. d or g 3. 

•las. s or g 3. 

Magyar. Csardas s or g 3. 

lungarian Rhapsody. Csardas s 4. 

. Breaza. Rumanian s or g 3. 

ira. Japanese s or g 1. 



;haracteristic ballet. 

$3 Each, 
tit and Darkness. Gr d. w. panto. 3. 

Shepherd and the Angel. Panto- 
jime ballet, d. 2. 

iussian Wedding. Ballet for 8, 12 
' 16 couples, in 3 parts. 2. 

Warrior. Indian duct pantomime 
id dance, in 3 parts. 2. 



BALLET. 
Fete de Jardinier. I'antomime and 
X dances. $10. 

istmas Festival Series of Dances, 
litable for a Kirmcss, $.S, 
Sun, or Earth's Awakening. Pan- 
-imre ballet. $1(1. 
Jleonatra's Court. Panto, ballet. $10. 



FOLK. $1 Each. 
Note: — The numerals used with the 
Foli< and Contra dances denote much 
easier gra<les than in other categories. 
Manchegas. Spanish. 3. 
Zorongo. Spanish. 3. 
Farandole. Provengal. 1. 
Tourdion. Old French. 2. 
Bourree. Old French. 2. 
Le Tambourin. Old French. 2. 
Forlane. Old French. 
Fricassee. Old Fr. Soldier Polka. 2. 
Norinan Folk Dance. Old. 2. 
Wooden Shoes. Dutch. 2. 
Windmill. Dutch. 3. 
Rustic Dance. Old English. 1. 
Morris Dance. English. 1. 
Maypole Dance. English. 1. 
Thanksgiving or Festival Dance. 2 
The Wheel. Athletic: men or boys. 2. 
Old Welsh Dance. 2. 
Highland Schottische. 2. 
Irish Lilt. 2. 

Long Dance. Swedish. 1. 
Ring Dance. Swedish. 1. 
First of May. Sw. 50c. w. folk song. 1 
Mountain Trio Dance. Norwegian. 2 
May Dance. German. 1. 
Westphalian Peasant Dance. 2 
Bavarian Folk Dance. 1. 
Cracovienne. Polish. 2. 
Goralski Tanied. Polish. 1 
Russian Wave Dance. 1. 
Pletyonka. Russian. 1. 
Snow Storm (Myatelitza). Russian. 1. 
Khorovod (The Crane) Russian. 1 
Lujock. Russian. 1. 
Troika. Russian. 2. 
Kolomeika. Russian. 2. 
Strasak. Bohemian. 3. 
Baborak. Bohemian. 2. 
Ritka. Hungarian. 3. 
Csehbogar. Hungarian. 1. 
Bulgarian Folk Dance, 1. 
Snake Dance. .'Kmer. Indian. 1. 
Scalp Dance. Amer. Indian. 1. 



CONTRA 
Arkansas 

Traveler. 2. 
Beaux of 

Oak Hill. 2. 
Circassian 

Circle. 1. 
Flowers of 

Edinburgh. 2. 
The Graces. 2. 
Harvest Home. 2. 
Hewett's Fancy. 1. 
Hull's Victory. .'. 
Windsor 



50c. Each. 
Money Musk. 2. 
Off She Goes. 2. 
Petronella. 2. 
Pop Goes the 

Weasel. 2. 
Portland Fancy. 1. 
Soldier's Joy. 1 
Speed the Plow. 2 
Three-Hand 

Ring. 2. 
The Tempest 

iLaTcmpC-te).!. 
Terrace. 2. 



GREEK AND INTERPRETIVE. 

$3 Each. 

Wind and Wave. Greek s 3. 

Psyche. Interpretive s or g 2. 

Forest Spirits. Grk. 12 yg. women. 2. 

Pompeian Flower Girls. Old Roman g 2. 

Greek Maidens Playing Ball. Simple 
and very effective. 2. $2. 

Cymbal Dance. Greek s or g 3. 

Spirit of Spring. Grk. Interpretive s 3, 

Summer. Greek Interpretive s 2. 

Autumn, Greek Interpretive s 3. 

Winter. Greek Interpretive s 2. 

The Moon Dance. Oriental Interpre- 
tive s or g 2. 

Cleopatra's Dance. Oriental Int. s or g 2. 

Moment Musical (Schubert). Grk. s 2. 

Barcarolle from "-Hoffmann." Grk. s 3. 

Spring Song (Mendelssohn). Interp. s 2. 

Hark, Hark, the Lark!(Schubert). Ins 3. 

L'Automne (Bacchanal), d 3. 

Blue Danube Waltz. Interp. s or g 3. 

Song of the Robin. Interp. s or g 1. 

Chopin's Waltz, C sharp minor. Int. s 3. 

Chopin's Waltz in D flat. Int. flower d. 

Valse Caprice (Rubinstein). Int. s 3. 

Humoreske (Dvorak). Greek s 3. 

CHARACTERISTIC and DEMI- 
CHARACTER. $3 Each. 
Le Toreador d'Andalousie. s or g 4. 

The Gipsy Camp. Span. tamb. s or g 3 

The Andalusian Gipsy. Spanish s or g 3. 

The Beauty of the Alps. Tyrol, s or g 2. 

Jean et Jeannette. French d 2. 

The Joy of the Rose. Pierrot pant, i 2. 

Columbine. French s or g 3. 

The Village Belle. French s or g 2. 

Sailor's Hornpipe, s or g 1. 

The Pied Piper. Characteristic. 1 adult 

and g of children. 2. 
The Polish Princess. Polish s or g 3. 
Marysia. Polish s or g 3. 
The Mazovian Maid. Polish s or g 3. 
White Rose Mazurka, Polish s or g 3 
Stach i Zoska, Polish d with panto. 2. 
Russian Court Dance, d 2. 
Wegi^rka. Hungarian Military d 2. 
The Hussar. Hungarian Char, s or g 2. 
Japanese Group Dance. 8 or 16. $2. 1. 
America. 6 cb.aracteristic dances, Irom 

Indian times to the present, 2. 
Bow and Arrow Dance. Male s or g 3. 
La Creole. Characteristic s or g 3. 
The Cherry Blossoms. Japan d w. pant. 2. 



ESTHETIC. 
Allegretto, s or g 2. $2. 
The Blue Bird, s or g 4. $3. 
Bluette Polka, s or g 3. $3. 
Esthetic Waltz, s or g 2. $2. 
Eugenie Onyegin. Waltz s or g 3. $3. 
The. Fairy Queen, s or g 2. $3. 
Fireflies, s or g 2. $2. 
The Golden Butterfly, s or g 4. $3. 
Little Fairy Snowftake. s. or g. 1. $2 
Midsummer Night's Dream: Dance of 

the Fairies. 12 or 24 girls. 1. $3. 
Mignonnette, s or g 1. $2. 
The Nightingale, s or g 2. $2. 
Papillons d'Amour. Waltz time g 3. $3. 
Petite Coquette, s or g 1. $2. 
Pizzicato, s (or g) fr. "Sylvia." 2. $2. 
Polka Miniature, s or g 2. $3. 
Poppies, s or g 1. $2. 
Three Fair Maids, s or g 3. $3. 
Valse Brillahte. s or g 3. |3. 

BALLROOM. 

Music and Description, (1. 

Furlana. 2. I Minuet Walti. 2. 

La Russe. 1. Sylvia Waltz. 2. 

The Countess. 2. | Gavotte Waltz. 2. 

Mazur Waltz. 2. 
DESCRIPTIONS of all the Ballroom 
Dances, old and new, in their most 
beautiful, modest, teachable and stand- 
ard form, are published by the school, 
at $.50 and up. 

MUSIC for the newest ballroom 
dances, in the pieces most approved by 
us and the public, is carried in stock at 
prices from 25 cents up. 

OTHER WORKS 

For sale only by the School 
THE 

CHALIF TEXT BOOK OF DANCING 

Vol. I. The standard positions and the 
fundamental exercises. These are de- 
scribed to the minutest detail, so that 
the book is useful alike to the student 
who has no teacher, or the best teach- 
ers. 171 pp., ill., price postpaid, $2.50. 
Music for the Classical Exercises for 
Technique, as described in the Text 
Book, and including all used in the 
Chalif School. Third edition; a new 
collection of 47 beautiful pieces, unused 
hitherto; engraved. Postpaid. $3.05. 
Grammar of the Art of Dancing, by 
Friedrich A. Zorn. An important work 
to the profession. With musical sup- 
plement, express paid, $10. 



HE CHALIF NORMAL SCHOOL OF DANCING ^o^irmTn^" 



IS located in New York City, at 7 West 42nd Street, and teaches 
dancing, especially its higher forms, to dancing teachers, exhibi- 
tion dancers, playground and recreation supervisors and public 
3ol teachers, and teachers of physical training. Its work with 
se classes has met with tremendous success. "Chalif dancing" and 
school which radiates it have come into a North American repu- 
ion, now becoming international. This popularity is due, we 
ould say, to four factors, which are 

1st: CHALIF DANQING 

This is the classic art taught by the Imperial Ballet School of 

"issia (of which Mr. Chalif is a graduate), adapted and simplified, 

thout debasement or weakening, for use in American dancing 

idemies and schools. Toe-work, very difficult steps and minute 

ige detail have been treated as separate branches, but almost all 

le beauty of the original, and quit? all of its spirit and scope have 

sen retained. The result is an art which while allowing an amateur 

1 make rapid progress is yet authentic, b.-autiful, utterly captivating: 

1 the student, and furthermore bringing health, knowledge of racial 

\aracter, alertness, grace, and a soul-deep development efthetically. 

The adaptation of Classic dancing has not been attempted by 

"■halif School only, but by it with the most outstanding success, 

ally in three particulars. First, the use of the Arms and the 

. of the body has been kept equally important with the use of the 

Second, in National, Demi-character and Folk dancing the 

i»nal Character of each race is really preserved. Third, a thor- 

h regard is had for the proprieties, so that although Chalif dancing 

1 no sense stilted, yet all of it is suitable for offering to all of the 

erican public. 

When taught to teachers it includes more than this, for an excel- 

t training in Pedagogy is furnished. By the time of graduation 

--^ ordinary student is a completely equipped teacher of Chalif and 



2nd: L. H. CHALIF 

The second factor in the immense success of this School has 
been the experience and teaching ability of its principal. From g 
years of age a student in the Imperial Ballet School of Russia, in 
Moscow, then successively a solo stage dancer, ballet master at the 
Odessa government theater, instructor of dancing in leading New 
York private schools and director of the Chalif Normal School, his 
experience has been long, complete and invaluable to his pupils. . . . 
A certain ability at teaching has also made the school popular, 
although it has prevented the use of assistants, since it has been 
found that the students will listen to no one else while the principal 
is on the floor. 

3rd: LOCATION 

The position of the school in the uptown transportation centar 
of New York, "the most popular summer resort in the country," has 
helped its enrollment. 

4th: THE MOVEMENT FOR ARTISTIC DANCING 
which is more and more ascendant in this country, is the final cause 
for the fame of the Chalif School. Everywhere there is a demand for 
tU^ real dancing, and here one can be trained to teach it 

COURSES 
Each year during June and July there is a normal school with 
c--sses all day, both in the regular Chalif and Ballroom work and in 
Pantomime, festival ballets. Toe-dancing, etc. And similar sessions 
are held during a fortnight of the Christmas holidays and on Satiu:- 
days and some week-day afternoons throughout the winter. Catalogs 
of any of these, or of our dancing teachers' shoe and supply house, 
will be sent with pleasure, on application. 



